There’s a comfort in landing on the tonic the same way every time.
It’s reliable. It’s safe. It works.
For me, that default resolution shows up most when the chord changes are flying by and I don’t have much time to think. My hands almost instinctively go to a Mixolydian scale derived from the V chord — for example, if the tune is heading to an F major tonic, I’ll reach for C Mixolydian.
This is an easy choice, because C Mixolydian literally has the same notes as an F major scale.
And honestly? There’s nothing wrong with that.
The 3rd of C (E) resolves beautifully to the F (root of the tonic), and the 7th (B♭) has that strong voice-leading pull to the A — the 3rd of F major. Add a little chromaticism and it’s clean, inside, and perfectly functional.
But that approach rarely leads to a darker modal color or unexpected melodic contour.
And these days, that’s exactly what I’m after.
Practicing Minor IV Superimposition on Bass
Why Change Now?
After becoming a parent, my bass practice time all but vanished. Energy went into other things, and my hands spent more time holding my kid than holding the neck of my bass.
Now that my daughter is older and sleeps better, I’ve been feeling the pull to get back into the shed. And if I’m starting fresh, why not shed habits as well as notes?
I don’t see autopilot as a bad thing — in fact, it frees you to focus on phrasing, tone, rhythmic feel, and dynamics. But sometimes autopilot also means circling the same musical block over and over.
And these days, I’m leaning on exploring new harmonic contexts and expanding my improvisation vocabulary.
The Practice Setup
I decided to keep one thing fixed:
Destination: F major tonic
Instead of thinking of the C7 as a V chord, I thought of it as a:
- minor IV sound (B♭ minor) superimposed over the V (C7 chord).
This shift instantly changed the scale degrees and note choices available to me. And it didn’t require much additional thinking on my part.
Suddenly I wasn’t starting from the V’s root — I was approaching from the minor IV’s landscape.
The result? Instant flavor. Bing, bang, boom.
Here’s what I explored:
- B♭ Melodic Minor – Just enough tension and release to make the resolution pop.
- B♭ Dorian – Crunchy with a hint of soul.
- B♭ Phrygian – Dark, smoky, with that unmistakable flat 2 tension.
- Mystery Scale – 1, ♭2, ♭3, ♯4, 5, ♭6, 7 — exotic, a little weird, but surprisingly comfortable under the fingers and inspiring for melodic phrasing. Here are the notes: B♭, C♭, D♭, E, F, G♭, A.
I didn’t loop anything. I didn’t use a backing track. I just sat with the bass, let the tonic hang in my ear, and explored different approach notes and intervallic shapes.
Common Ways to Resolve to the Tonic on Bass
Whether you’re walking a line, soloing, or outlining a cadence, there are countless ways to resolve to the tonic. Here are a few you can try — from traditional to more colorful:
| Approach Type | Example in F Major | Why It Works |
|---|---|---|
| V Mixolydian | C Mixolydian resolving to F | Strong voice leading: 3rd of C (E) → F, 7th (B♭) → A |
| Chromatic Approach Notes | Approach F from E and G♭ | Creates tension just before the resolution |
| Minor IV Superimposition | Any B♭ minor sound over C7 | Adds darker modal colors and unexpected tones |
| Enclosure | Surround F with E and G | Outlines target note with neighbor tones |
You can find more lessons, practice ideas, and theory breakdowns like this in my Music & Bass section.
Tip: Don’t think of these as rigid formulas — think of them as colors on your palette. The more you combine and contrast them, the richer your lines become.
Listening for More Than Notes
As I played, I wasn’t just running scale patterns or thinking in terms of theory.
I was listening for how each note made me feel — not just in the moment, but in how it shaped the entire resolution.
Questions I asked myself:
- Which notes created that satisfying resolution?
- Which tones carried more tension before landing?
- Which ones gave me a distinct emotional reaction—enough to remember and want to use again?
The big “aha” was realizing that as long as I hit B♭, D♭, and F (the core of that B♭ minor sound), I could use passing tones to build almost any modal framework over the C7 — and still make the cadence into F major sound intentional.
How This Changes My Approach
Now, when I see a ii–V progression in a chart, I don’t have to run through the mental gymnastics of two separate chords.
I can just think:
- any minor IV sound over the V
- Or, any minor IV sound over the entire ii-V
This approach:
- Simplifies harmonic thinking
- Gives richer modal colors
- Opens up more options for walking lines and soloing
It also ties into a bigger concept I’ve been working on — hearing everything as a V-to-I cadence.
The more I think in cadences, the more connected my voice leading becomes across a tune.
Why This Isn’t Just a Technical Exercise
I’m not sitting here running the same lick for 15 minutes trying to burn it into muscle memory. That’s not the point.
For me, this kind of practice is explorative ear training — letting my improvisation evolve in real time. I try something, listen, adjust, and move on. No dwelling.
Breaking a habit isn’t just about avoiding an old lick — it’s about creating space for a new melodic contour to emerge.
Try This Yourself
If you’ve been resolving to the tonic the same way for years, try this:
- Pick a V–I cadence in any key.
- Instead of thinking “V chord,” think “minor IV” and start your line from there.
Focus on the scale degrees and approach notes that give you the strongest tension and release. - Let your ear — not your hands — guide the melodic phrasing.
You might find, like I did, that the tonic suddenly feels brand new.
