Theory
Yesterday you learned the chromatic approach that aims at the next root by a half step. Today you add two more kinds of approach note. The approach note isn't only chromatic. One step from the scale, and one big leap from the chord — you learn two new bridges.
The first is the scale approach. You place the scale note right next to the next root (a whole step away) on beat 4. If the next chord is Bb, step down from C (a whole step above Bb) inside the F scale and enter Bb. It's more spacious than chromatic, and being inside the key it sounds very natural to the ear.
The second is the dominant approach. You place the note a fifth above the next root — that chord's dominant — on beat 4, then leap up a fourth (or down a fifth). Bb's dominant is F. Put F on beat 4 and you get a strong sense of resolving into Bb. Instead of tiptoeing in like a half step, it's a way of declaring the next chord with a leap.
To sum up, there are three kinds of approach note — chromatic (half step), scale (whole step), dominant (fifth leap). Today you get the latter two into your hands. All three follow the same rule — approach on beat 4, land on the next beat 1.
First look at the two approach notes toward the next chord, Bb — scale C and dominant F — on the fretboard.
▶ 4-string. The root Bb (3rd string, 1st fret), plus the scale approach C (3rd string, 3rd fret) and the dominant approach F (2nd string, 3rd fret).
▶ 5-string. The positions are the same as on a 4-string. Rest your hand over the low B.
See it
Now put the two approach notes into a line. The first example is the scale approach (C→Bb), the second the dominant approach (F→Bb). Both put the approach on beat 4 and land on Bb on the next beat 1. Every example comes in both a 4-string and a 5-string version.
▶ BPM 76, 4-string. Beat 4 C (3rd string, 3rd fret) steps down one whole step from above Bb. Land on Bb on the next beat 1.
▶ BPM 76, 5-string. Same notes and positions as the 4-string. Rest your hand over the low B.
This time it's the dominant approach. From beat 4 F, leap a fifth up into Bb.
▶ BPM 76, 4-string. Beat 4 F (2nd string, 3rd fret) is Bb's dominant. From a fifth above it resolves strongly into Bb.
▶ BPM 76, 5-string. Same notes and positions as the 4-string.
Today's practice
0–10 min · Warm-up Walk yesterday's chromatic approach (half step above and below) once at BPM 72. Warm up your hands before learning a third approach note.
10–20 min · Brain training With the prep example below, isolate one scale approach and learn it slowly. It's the feel of settling down softly from beat 4 C to the whole-note Bb.
▶ BPM 66, 4-string. No beat 4 rush needed — from the F root, through C, settle very slowly onto the whole-note Bb.
▶ BPM 66, 5-string. Same notes and positions as the 4-string.
20–40 min · Real play Alternate the two examples above (scale, dominant) at BPM 76. Compare which approach calls the next chord more strongly. Learn it on a 4-string, then confirm on a 5-string.
40–50 min · Record/feedback Record 30 seconds and listen to the three approach notes (chromatic, scale, dominant) side by side. It helps to imagine which approach suits which mood of a tune.
Done when: you can place the scale approach (whole step) and the dominant approach (fifth leap) on beat 4 and land on the next measure's beat 1, and explain the difference among all three approach notes, chromatic included, on both a 4-string and a 5-string.
- The scale approach sounds flat. A whole-step approach is smooth by nature, but you have to ring the landing note clearly to keep the direction alive. The next beat 1 must be bigger than the approach.
- The dominant leap misfires. When you jump from F to Bb, a rushed hand blurs the note. Spot the landing position with your eyes before the leap.
It's the same when returning to F. Below are the scale approach G and the dominant approach C, aimed at F.
▶ 4-string. The root F (4th string, 1st fret), plus the scale approach G (2nd string, 5th fret) and the dominant approach C (3rd string, 3rd fret).
▶ 5-string. The positions are the same as on a 4-string. Rest your hand over the low B.
- Choose among the three approaches. Chromatic tiptoes, scale is smooth, dominant is forceful — even for the same landing, the color differs. Today it's enough just to tell the three faces apart. Tomorrow you'll put these approach notes into an actual walking line.