Target/Approach Method
The "Target/Approach" Method is a trick you can use to put your lines together into logically resolving lines. When in use, all notes will flow to another note that a listener's ears will WANT to go in a nice, flowing sort of way. When this happens and every note just seems right, it is said that the line is well resolved. Resolution makes for very powerful songs!
To accomplish this complete, resolving effect, first you need to take note of the chord progression of the song. These are the notes you have to put into your lines no matter what in order to actually be playing with everyone else. These notes are typically played on the first beat of the measure, or third if there is a chord change halfway through a bar. For example, if the song progression is G#, A#, C, those notes should be used as targets that you will play for sure at given times, and that you will always come back to.
The rest of your note choices are based on these targets. In your G# bar, for example, the notes in that bar should be from a G# or related scale of chord! For A#, same deal, all notes in this bar are chosen based on an A# or related scale or chord. A good rule of thumb is that you should pay close attention to the note in the first beat, is is most likely your root note of that bar, OR a chordal interval of that root. The other notes are chosen to scale or are an arpeggiated tone of that scale!
From here, you will have lines that bounce all over the register. This can be okay if you are trying to play a question and answer, back and forth style, but it does not always make a resolving line. You will sound like you are all up and down and have no flow. In order to get this flow, you will apply the Target/Approach method! Those roots we've discussed will be your targets! The fourth beat of the measure should be an approaching tone to the next target!! Think of it simply as that!
There are a few main methods of choosing your approach notes. The first is chromatic approach, and simply, you will approach your next target from the next chromatic tone above of below the next note! Next is double chromatic, so starting on beat three, approach the next target note from two chromatic tones above or below the next target. Next, is scalar approach, in which you approach from the next scalar tone above or below the next target note. Double scalar approach, is similar to double chromatic in that you start from two scale tones above or below the next target! For dominant approach, on beat four, play the dominant (5th) of the next target note on the way into the target. And finally, arpeggiation approach is when you use chordal tones to approach the next target note. This can get tricky in that the chordal tones you are playing on the way in may not be related well to the tone you are approaching, be careful! You can even combine several of these methods, but again be careful. If you get jammed up while combining methods and one method clashes with your other chosen method, you do have a saving ace-in-the-hole called indirect resolution. Simply, approach your next tone chromatically whatever you are doing (last ditch effort if you get confused).
Here is a drill for you to practice building a line using the Target/Approach Method. Use ALL of the methods described above and get comfortable with them. The target notes are chosen, the rest is up to you to improvise in the other notes correctly! Be creative and have fun!
The "Target/Approach" Method is a trick you can use to put your lines together into logically resolving lines. When in use, all notes will flow to another note that a listener's ears will WANT to go in a nice, flowing sort of way. When this happens and every note just seems right, it is said that the line is well resolved. Resolution makes for very powerful songs!
To accomplish this complete, resolving effect, first you need to take note of the chord progression of the song. These are the notes you have to put into your lines no matter what in order to actually be playing with everyone else. These notes are typically played on the first beat of the measure, or third if there is a chord change halfway through a bar. For example, if the song progression is G#, A#, C, those notes should be used as targets that you will play for sure at given times, and that you will always come back to.
The rest of your note choices are based on these targets. In your G# bar, for example, the notes in that bar should be from a G# or related scale of chord! For A#, same deal, all notes in this bar are chosen based on an A# or related scale or chord. A good rule of thumb is that you should pay close attention to the note in the first beat, is is most likely your root note of that bar, OR a chordal interval of that root. The other notes are chosen to scale or are an arpeggiated tone of that scale!
From here, you will have lines that bounce all over the register. This can be okay if you are trying to play a question and answer, back and forth style, but it does not always make a resolving line. You will sound like you are all up and down and have no flow. In order to get this flow, you will apply the Target/Approach method! Those roots we've discussed will be your targets! The fourth beat of the measure should be an approaching tone to the next target!! Think of it simply as that!
There are a few main methods of choosing your approach notes. The first is chromatic approach, and simply, you will approach your next target from the next chromatic tone above of below the next note! Next is double chromatic, so starting on beat three, approach the next target note from two chromatic tones above or below the next target. Next, is scalar approach, in which you approach from the next scalar tone above or below the next target note. Double scalar approach, is similar to double chromatic in that you start from two scale tones above or below the next target! For dominant approach, on beat four, play the dominant (5th) of the next target note on the way into the target. And finally, arpeggiation approach is when you use chordal tones to approach the next target note. This can get tricky in that the chordal tones you are playing on the way in may not be related well to the tone you are approaching, be careful! You can even combine several of these methods, but again be careful. If you get jammed up while combining methods and one method clashes with your other chosen method, you do have a saving ace-in-the-hole called indirect resolution. Simply, approach your next tone chromatically whatever you are doing (last ditch effort if you get confused).
Here is a drill for you to practice building a line using the Target/Approach Method. Use ALL of the methods described above and get comfortable with them. The target notes are chosen, the rest is up to you to improvise in the other notes correctly! Be creative and have fun!
Resolution is the key!,
Mark McAnaney, solo bassist
