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→Bass/Strum
=== Bass/Strum ===
Another way to make simple chord progressions more interesting is to play a bass/strum pattern. This is where you play the bass note on one beat, then strum the rest of (or whole) chord on the next.
fig 4
C G C
e----0-----0-|---3-----3-|0--------
b----1-----1-|---3-----3-|1--------
g----0-----0-|---0-----0-|0--------
d----2-----2-|---0-----0-|2--------
a-3-(3)-3-(3)|---2-----2-|3--------
e------------|3-(3)-3-(3)|---------
Notice that the bass notes are carried over to the next beat. They can even be strummed again if desired. While the other notes are not explicitly marked to carry into the next beat, it is ok to do so while on that chord. For instance, you can hold the chord and allow it to sustain into the 3rd beat of the 1st measure, but you shouldn't let the C Major chord sustain into the G Major on the 1st beat of the 2nd measure.
This is quite a bit more engaging than straight strummed quarter note chords, eh?
=== Inversion Bass/Strum ===
fig 5
C C/G C C/G G G/B G G/B C
e----0-----0-|---0-----0-|---3-----3-|---3-----3-|0--------
b----1-----1-|---1-----1-|---3-----3-|---3-----3-|1--------
g----0-----0-|---0-----0-|---0-----0-|---0-----0-|0--------
d----2-----2-|---2-----2-|---0-----0-|---0-----0-|2--------
a-3----------|3----------|---2--2--2-|---2--2--2-|3--------
e-------3----|------3----|3----------|3----------|---------
Here the C Major chord alternates from root position to 2nd Inversion with its perfect fifth (G) in the bass. The G Major chord alternates between root position and 1st inversion with its major third (B) in the bass. Notice how this has much more of a sense of movement than the simple bass/strum example above. We stay on each chord for 2 measures instead of just one, but it doesn't feel boring.
Also, notice the B in the bass of the 1st inversion G Major chord cleanly ascends one half-step to the bass note of the C Major chord. This is good voice leading and should seem quite natural - a bit easier on the ears than going from root position G Major to C Major.
