See also an analysis of this tune’s amazing drum groove.
If you have even a passing interest in funk, you will want to familiarize yourself with Herbie Hancock’s “Chameleon.”
If you are preoccupied and dedicated to the preservation of the movement of the hips, then the bassline needs to be a cornerstone of your practice.
Here’s a transcription I did in Noteflight – huge props to them for recently introducing sixteenth note swing.
And here’s how it looks in the MIDI piano roll:
The “Chameleon” bassline packs an incredible amount of music into just two bars. To understand how it’s put together, it’s helpful to take a look at the scale that Herbie built the tune around, the B-flat Dorian mode. I recommend doing some jamming with it over the song before you move on.
This scale contains the same pitches as A-flat major. If you find that fact confusing, then feel free to ignore it.
The chord progression
The opening section of “Chameleon” is an endless loop of two chords, Bbm7 and Eb7. You build both of them using the notes in B-flat Dorian mode. To make Bbm7, start on the root of the scale, B-flat. Skip over the second scale degree to land on the third, D-flat. Skip over the fourth scale degree to land on the fifth, F. Then skip over the sixth to land on the seventh, A-flat. If you want to add extensions to the chord, just keep skipping scale degrees, like so:
To make Eb7, you’re going to use the same seven pitches in the same order, but you’re going to treat E-flat as home base rather than B-flat. You could think of this new scale as being E-flat Mixolydian mode, or B-flat Dorian starting on E-flat; they’re perfectly interchangeable. You build your Eb7 chord like so:
Once you’ve got the sound of Bbm7 and Eb7 in your head, let’s try an extremely simplified version of the bassline.
Chord roots only
At the most basic level, the “Chameleon” bassline exists to spell out the chord progression in a rhythmically interesting way. (This is what all basslines do.) Here’s a version of the bassline that removes all of the notes except the ones on the first beat of each bar. They play the roots of the chords, B-flat and E-flat.
That’s boring, but it’s effective. You can never go wrong playing chord roots on the downbeat.
Simple arpeggios
Next, we’ll hear a bassline that plays all of the notes in Bbm7 and Eb7 one at a time. When you play chords in this way, they’re called arpeggios.
The actual arpeggios
The real “Chameleon” bassline plays partial arpeggios–they don’t have all of the notes from each chord. Also, the rhythm is a complicated and interesting one.
Below, you can explore the rhythm in the Groove Pizza. The orange triangle shows the rhythm of the arpeggio notes, played on the snare. The yellow quadrilateral shows the rhythm of the walkups, played on the kick–we’ll get to those below.
The snare rhythm has a hit every three sixteenth notes. It’s a figure known in Afro-Latin music as tresillo, which you hear absolutely everywhere in all styles of American popular and vernacular music. Tresillo also forms the front half of the equally ubiquitous son clave. (By the way, you can also use the Groove Pizza to experiment with the “Chameleon” drum pattern.)
As for the pitches: Instead of going root-third-fifth-seventh, the bassline plays partial arpeggios. The figure over Bbm7 is just the root, seventh and root again, while the figure over Eb7 is the root, fifth and seventh.
Adding the walkups
Now let’s forget about the arpeggios for a minute and go back to just playing the chord roots on the downbeats. The bassline walks up to each of these notes via the chromatic scale, that is, every pitch on the piano keyboard.
Chromatic walkups are a great way to introduce some hip dissonance into your basslines, because they can include notes that aren’t in the underlying scale. In “Chameleon” the walkups include A natural and D natural. Both of these notes sound really weird if you sustain them over B-flat Dorian, but in the context of the walkup they sound perfectly fine.
Putting it all together
The full bassline consists of the broken arpeggios anticipated by the walkups.
If you’re a guitarist or bassist, you can play this without even shifting position. Use your index finger on the third fret, your middle finger on the fourth fret, your ring finger on the fifth fret, and your pinkie on the sixth fret.
. . . G|----------.-3----------3-6--| D|----------6-----------------| A|---------------3-4-5-6------| E|--3-4-5-6-------------------|
If you’ve got this under your fingers, maybe you’d like to figure out the various keyboard and horn parts. They aren’t difficult, but you’ll need one more scale, the B-flat blues scale. Click the image to jam with it over the song and experience how great it sounds.
There you have it, one of the cornerstones of funk. Good luck getting it out of your head!