Teorija 1

Constructing Major Scales for Bass Guitar
All music theory really begins with an understanding of the major scale. The major
scales is used as a constant to with which other elements are compared.
Below is an important tidbit of information before we get started.
All natural notes (A B C D E F G) are a whole step (2 frets) apart, except

between E-F and B-C which are a half step (1 fret) apart.
A major scale is nothing more than a series of whole steps and half steps. Writing the
natural notes from C-C will create a C major scale
The easiest way to remember the formula for a major scale is this. There are 2 sets of
W W 1/2 separated by a W. The W stands for whole step, and the 1/2 stands for half
step.
W W 1/2 W W W 1/2
This same pattern can be applied to any set of 8 consecutive notes. For example if the
natural notes between G-G were written, F would have to be raised a half step to F
sharp in order to create the formula needed to make a major scale.
In the next example the notes from F-F are written. In this case the B would have to
be lowered a half step to a B flat in order to conform to the pattern.
As I have mentioned before the major scale is used as a constant to with other
elements are compared. For the purpose of comparison, the degrees of the major scale
a assigned numbers from 1 to 7. These numbers are the function of the note within the
scale.
Things to do
1. Pick any note on any string, preferably within the first 3 or 4 frets. Then play a
major scale going up on one string following the pattern of whole steps and
half steps for a major scale ( W W 1/2 W W W 1/2). The names of the notes
are not important for this exercise.
2. Play different major scale fingerings, getting to know the degree names
(numbers 1-7). The scale fingering below is a good starting point.
3. Change the following sets of notes to create major scales. Remember that
when construction major scales compare two notes at a time to see if they fit
the pattern needed. If they do not fit then the second of the two notes must be
changed by either raising of lowering it.
note: sharps (#) or flats (b) come before notes in standard notation, but after the letters
below.
D E F G A B C D A B C D E F G A
E F G A B C D E B C D E F G A B
F# G A B C D E F Bb C D E F G A B
Eb F G A B C D E Ab B C D E F G A
Db E F G A B C D Gb A B C D E F G
Major scale answers
D E F# G A B C# D A B C# D E F# G# A
E F# G# A B C# D# E B C# D# E F# G# A# B
F# G# A# B C# D# E# F# Bb C D Eb F G A Bb
Eb F G Ab Bb C D Eb Ab Bb C Db Eb F G Ab
Db Eb F Gb Ab Bb C Db Gb Ab Bb Cb Db Eb F Gb
Building chords from the major scale
While you will not strum chords very often like a guitar player might, you will play
the notes of a chord in your bass lines. When the notes of a chord are played one at a
time, this is known as an arpeggio. Playing arpeggios will be how you apply the
knowledge of chords to the bass.
Basic chords are created by stacking up every other note in a major scale. In this
lesson we will be using a C major scale to explain how chords are created. Below are
the notes of a C major scale.
C Major scale = C D E F G A B C
If I start on C, and skip every other note in the scale for a total of 3 notes, this a C
major chord.
C D E F G A B C
|___|___| = C* (C major chord)
*When you are looking at a chord symbol, if you just see a letter it is a major chord.
So "C" means "C major".
If you start on D, and do the same thing a Dm chord is created. Why this is a minor
chord will have to be looked into a little later. So for now it is just one of those things
that you have to accept on blind faith. The notes D, F, and A create a Dm chord.
C D E F G A B C
|___|___| = Dm* (D minor chord)
*The small m after the D means minor
The process of stacking 3 notes up in the major scale could continue until you have 7
different chords. There are 7 different notes in a major scale.
C D E F G A B C
|___|___| = Em (E minor chord)
C D E F G A B C
|___|___| = F (F major chord)
C D E F G A B C D
|___|___| = G (G major chord)
C D E F G A B C D E
|___|___| = Am (A minor chord)
C D E F G A B C D E F
|___|___| = Bo* (B diminished chord)
*The small circle after the B means diminished when used in a chord symbol. A
diminished chord is just another "flavor" of chord sound.
These first chords that we are taking a look at are sometimes called triads. A triad is
just a term for a 3 note chord.
It is a little easier to visualize how chords are created on the piano as opposed to the
bass. The video below shows these seven chords and how they would be played on
the piano. The white keys from C-C form a C major scale, therefore to create the basic
chords you skip every other white key. This video does not have any sound
How the chords function in the key
For this lesson we are looking at the chords build from the notes of a C major scale.
These are the chords that are in the key of C major. Each chord in a key has certain
function within that key. The word function just means that particular chords will
have a unique sound in relationship to the main chord of the key. The main chord in
this case is C (C major).
To show how each chord functions in the key, Roman numerals are used as a way of
labeling the chords. A Roman numeral like I, IV, or V indicates a major chord. If you
see a Roman numeral with a small m after it, this is the same as seeing a letter with a
small m. It means that the chord is minor. So IIm, IIIm, and VIm are all minor
chords. The small circle after a Roman numeral means diminished, like VIIo.
Chord functions in the key of C major
C D E F G A B - C major scale
| | | | | | |
C Dm Em F G Am Bo - Chord Name
I IIm* IIIm IV V VIm VIIo - Function
*Traditional classical theory uses a lower case Roman numeral to indicate a minor
chord function....ii, iii, vi. And the small m is not used. It more modern theory...Jazz,
Rock, and other contemporary music, chord functions use capital Roman numerals.
Then a small m is used if the chord is minor, a small circle is used for diminished, and
there are other modifiers as well that will tell you what the quality of the chord is.
(Ex. IIm, IIsus2, II7)
The harmonization (creation of chords or harmony) of a major scale will always

follow the same pattern, no matter what major key you are in. The chord build from
the first degree of the scale is always major. The chord build from the 2nd degree is
always minor, etc.
Chord functions in all major keys

major chord
I
built on the 1st degree of the scale
minor chord
IIm
built on the 2nd degree of the scale
minor chord
IIIm
built on the 3rd degree of the scale
major chord
IV
built on the 4th degree of the scale
major chord
V
minor chord
VIm
diminished chord
VIIo
Basic chords and functions in all of the major keys
Below is a table of all of the Diatonic Chords in the Major Keys
Diatonic means that all of the notes in the chord (or a melody) are contained within a
particular scale or key. (Major scale/key in this case)
I IIm IIIm IV V VIm VIIo
C Dm Em F G Am Bo
G Am Bm C D Em F#o
D Em F#m G A Bm C#o
A Bm C#m D E F#m G#o
E F#m G#m A B C#m D#o
B C#m D#m E F# G#m A#o
F# G#m A#m B C# D#m E#o
F Gm Am Bb C Dm Eo
Bb Cm Dm Eb F Gm Ao
Eb Fm Gm Ab Bb Cm Do
Ab Bbm Cm Db Eb Fm Go
Db Ebm Fm Gb Ab Bbm Co
Gb Abm Bbm Cb Db Ebm Fo
Applying the theory to the bass
Chords are applied on the bass in the form of arpeggios. And arpeggio is just the notes
of a chord played individually. So here we are going to look at the arpeggios (chords)
that are contained within a basic major scale fingering. You can really apply this same
idea to other major scale forms as you learn them.
Here is a basic fingering for a C major scale.
C-I
Here you are playing every other note in the scale

starting on C. This is the C major chord (arpeggio).
Dm - IIm
Em - IIIm
F - IV
G-V
Am - VIm
Bo - VIIo
You could play all of the notes of the chord that are in one position, So here is a C
major arpeggio that covers the full range of the scale.
Basic Major & Minor Arpeggios for Electric Bass

What we are going to take a look at in this lesson are the most basic forms of major
and minor arpeggios. There will be a lesson that covers major and minor arpeggios in
a more complete manner, so this is just a starting point for your arpeggio exploration.
Arpeggios are important not only for developing your technique, but your ear as well.
Arpeggios will be very important as you are learning to create bass lines over chord
changes.
One important word to understand in this lesson, and in music overall is root. The
root is the primary note that a chord or arpeggio is named after (A is the root of the
chords Am, A7, A5, etc.)
Arpeggios are just the notes of a chord played one note at a time.
Basic Major Arpeggios
The first arpeggio we are going to look at has it's root on the 4th string. So the name
of the arpeggio will come from the name of the note that you put your 2nd finger on
to start. You are then going to play the notes from the lowest sounding, to the highest
and back down. Next to the picture of the arpeggio, you will see an example of the
arpeggio in tablature format, and a video to give you an idea of the sound and how it
looks when played.
= the root note

There are only 3 different notes in a major or minor arpeggio before the names of the
notes start over. So you will notice that there is a root indicated on the 2nd string of a
major arpeggio root on the 4th string. When we say that an arpeggio has the root on
the 4th string, that does not mean that the 4th string is the only place you will find the
root. It only means that the lowest root that particular arpeggio form is on the 4th
string. That root will be your guide when playing the arpeggio on different frets.
Of course for these arpeggios to be of any use, you will need to know what the names
of the notes on the neck of the bass are. Especially the 3rd and 4th strings to start
with.
Root on the 4th string
Root on the 3rd string

This is the same shape, just move up a set of strings.
Basic Major Arpeggios

Extending the range
These arpeggio shapes cover the full range of the position that they are it. All you are
doing is adding a note to the basic position that you learn on the previous page.

When you play the root on the 3rd string arpeggio, you are going to start on the
root...go down to the 4th string...work your way up to the 1st string...and come back
down to end on the root on the 3rd string. This way you will develop your ear to hear
all of the notes in relationship to the root.
Basic Minor Arpeggios
Basic Minor Arpeggios

Extending the range

Major Arpeggios for Bass
Arpeggios are the notes of a chord played one at a time. This lesson will cover major
arpeggios on the neck of the bass. If you are new to arpeggios, be sure to go through
the Basic major and minor arpeggios lesson first.
Arpeggio Charts
The arpeggio charts in this lesson are written from a horizontal perspective. So the
first string is on top, and the 4th string is on the bottom. The numbers in red
represents the root of the arpeggio. Each arpeggio shape can be played anywhere on
the neck of the bass. The name will just depend on what position you are playing in.
Just line the red notes up with whatever major arpeggio you want it to be. You will
need to have a basic understanding of what the names of the notes are on the neck of
the bass to be able to determine what position to play in.
|--1--|-----|-----|-----| - 1st string

|-----|-----|--3--|-----|
|-----|-----|-----|--4--|
|--1--|-----|-----|--4--| - 4th string
When the root of the arpeggio is not the lowest note in the form, you should practice
the arpeggio in 2 ways.
1. Start on the lowest root in the form, work your way to the lowest note, then up to
the highest note, then return to the lowest root again. Here is how you would play the
above arpeggio form at the 5th fret. This would be an F major arpeggio.
G:--------------5------|
D:------------7---7----|
A:--8-------8-------8--|
E:----8-5-8------------|
2. Play the arpeggio starting from the lowest note, work your way to the highest, then
back to the lowest. As a variation, you may want to pause on the roots in the arpeggio.
That way your ear will become accustom to how all of the notes sound in relationship
to the root. Again the roots will be the numbers in red.
G:----------5----------|
D:--------7---7--------|
A:------8-------8------|
E:--5-8-----------8-5--|
Chord Functions
Each arpeggio chart will be written in 2 ways. To the left you will see a suggested left
hand fingering, and to the right you will see the Chord Functions. The chord
functions are how the notes in the chord/arpeggio relate to the major scale with the
same root. So the chord formula for a major chord is 1 3 5. See the lesson on basic
chord construction.
G A B C D E F = G major scale
1 2 3 4 5 6 7
| | |
G B D = G chord notes
1 3 5 = Chord function (Chord formula)
Major Arpeggios
Suggested Fingering Chord Functions
|-----|--2--|-----|-----|-----| |-----|--3--|-----|-----|-----|
|-----|-----|--3--|-----|-----| |-----|-----|--1--|-----|-----|
|-----|-----|--3--|-----|-----| |-----|-----|--5--|-----|-----|
|--1--|-----|-----|-----|--4--| |--1--|-----|-----|-----|--3--|
|-----|-----|--3--|-----| |-----|-----|--3--|-----|
|-----|-----|-----|--4--| |-----|-----|-----|--1--|
|--1--|-----|-----|--4--| |--3--|-----|-----|--5--|
|-----|--2--|-----|-----| |-----|--1--|-----|-----|
|--1--|-----|-----|-----| |--1--|-----|-----|-----|
|--1--|-----|-----|-----| |--5--|-----|-----|-----|
|-----|-----|--3--|-----| |-----|-----|--3--|-----|
|-----|-----|-----|--4--| |-----|-----|-----|--1--|
Major Arpeggios
|-----|-----|--2--|-----|-----| |-----|-----|--1--|-----|-----|
|-----|-----|--2--|-----|-----| |-----|-----|--5--|-----|-----|
|--1--|-----|-----|-----|--4--| |--1--|-----|-----|-----|--3--|
|--1--|-----|-----|-----|-----| |--5--|-----|-----|-----|-----|
|-----|-----|-----|--4--| |-----|-----|-----|--1--|
|--1--|-----|-----|--4--| |--3--|-----|-----|--5--|
|-----|--2--|-----|-----| |-----|--1--|-----|-----|
|-----|--2--|-----|-----| |-----|--5--|-----|-----|
|--1--|-----|-----|-----| |--5--|-----|-----|-----|
|-----|-----|--3--|-----| |-----|-----|--3--|-----|
|-----|-----|-----|--4--| |-----|-----|-----|--1--|
|--1--|-----|-----|--4--| |--3--|-----|-----|--5--|
Major Arpeggio
Root on the 2nd string
|--1--|-----|-----|--4--|-----| |--3--|-----|-----|--5--|-----|
|-----|--2--|-----|-----|-----| |-----|--1--|-----|-----|-----|
|-----|--2--|-----|-----|-----| |-----|--5--|-----|-----|-----|
|-----|-----|-----|--4--|-----| |-----|-----|-----|--3--|-----|
Minor Arpeggios
Arpeggios are the notes of a chord played one at a time. This lesson will cover minor
Arpeggio Charts
Just line the red notes up with whatever minor arpeggio you want it to be. You will
|-----|--1--|-----|-----|-----| - 1st string

|-----|-----|--2--|-----|-----|
|-----|-----|-----|-----|--4--|
|--1--|-----|-----|-----|--4--| - 4th string
above arpeggio form at the 5th fret. This would be an F minor arpeggio.
G:--------------5------|
D:------------6---6----|
A:--8-------8-------8--|
E:----8-4-8------------|
G:----------5----------|
D:--------6---6--------|
A:------8-------8------|
E:--4-8-----------8-4--|
Chord Functions
same root. So the chord formula for a minor chord is 1 3 5. See the lesson on basic
chord construction.
1 2 3 4 5 6 7
| | |
G B D = Gm chord notes
Minor Arpeggios
|--1--|-----|-----|-----| |- 3--|-----|-----|-----|
|-----|-----|--3--|-----| |-----|-----|--1--|-----|
|-----|-----|--3--|-----| |-----|-----|--5--|-----|
|--1--|-----|-----|--4--| |--1--|-----|-----|- 3--|
|-----|-----|--2--|-----|-----| |-----|-----|- 3--|-----|-----|

|-----|-----|-----|-----|--4--| |-----|-----|-----|-----|--1--|
|--1--|-----|-----|-----|--4--| |- 3--|-----|-----|-----|--5--|
|-----|-----|--2--|-----|-----| |-----|-----|--1--|-----|-----|
|--1--|-----|-----|--4--| |--1--|-----|-----|- 3--|

|--1--|-----|-----|-----| |--5--|-----|-----|-----|
|-----|--2--|-----|-----| |-----|- 3--|-----|-----|
|-----|-----|-----|--4--| |-----|-----|-----|--1--|
Minor Arpeggios
|-----|-----|--3--|-----| |-----|-----|--1--|-----|
|-----|-----|--3--|-----| |-----|-----|--5--|-----|
|--1--|-----|-----|--4--| |--1--|-----|-----|- 3--|
|--1--|-----|-----|-----| |--5--|-----|-----|-----|
|-----|-----|-----|-----|--4--| |-----|-----|-----|-----|--1--|
|--1--|-----|-----|-----|--4--| |- 3--|-----|-----|-----|--5--|
|-----|-----|--2--|-----|-----| |-----|-----|--1--|-----|-----|
|-----|-----|--2--|-----|-----| |-----|-----|--5--|-----|-----|
|-----|--1--|-----|-----|-----| |-----|--5--|-----|-----|-----|
|-----|-----|--2--|-----|-----| |-----|-----|- 3--|-----|-----|
|-----|-----|-----|-----|--4--| |-----|-----|-----|-----|--1--|
|--1--|-----|-----|-----|--4--| |- 3--|-----|-----|-----|--5--|
Minor Arpeggio
|-----|-----|--3--|-----| |-----|-----|--5--|-----|
|--1--|-----|-----|--4--| |--1--|-----|-----|- 3--|
|--1--|-----|-----|-----| |--5--|-----|-----|-----|
|-----|--2--|-----|-----| |-----|- 3--|-----|-----|
Sus2 Arpeggios for Bass
Arpeggios are the notes of a chord played one at a time. This lesson will cover sus2
Arpeggio Charts
Just line the red notes up with whatever sus2 arpeggio you want it to be. You will
|--1--|-----|-----|-----| - 1st string

|--1--|-----|-----|-----|
|-----|-----|-----|--4--|
|-----|-----|-----|--4--| - 4th string
above arpeggio form at the 5th fret. This would be an Fsus2 arpeggio.
G:----------5------|
D:--------5---5----|
A:--8---8-------8--|
E:----8------------|
G:--------5--------|
D:------7---7------|
A:----8-------8----|
E:--8-----------8--|
Chord Functions
same root. So the chord formula for a sus2 is 1 2 5. See the lesson on basic chord
construction.
1 2 3 4 5 6 7
| | |
G A D = Gsus2 chord notes
sus2 Arpeggios
|--1--|-----|-----|-----| |--2--|-----|-----|-----|
|-----|-----|-----|--4--| |-----|-----|-----|--1--|
|-----|-----|-----|--4--| |-----|-----|-----|--5--|
|-----|--2--|-----|--4--| |-----|--1--|-----|--2--|
|--1--|-----|-----|-----| |--1--|-----|-----|-----|
|--1--|-----|-----|-----| |--5--|-----|-----|-----|
|--1--|-----|-----|-----| |--2--|-----|-----|-----|
|-----|-----|-----|--4--| |-----|-----|-----|--1--|
sus2 Arpeggios
|-----|-----|--3--|-----| |-----|-----|--1--|-----|
|-----|-----|--3--|-----| |-----|-----|--5--|-----|
|--1--|-----|--3--|-----| |--1--|-----|--2--|-----|
|--1--|-----|-----|-----| |--5--|-----|-----|-----|
|--1--|-----|-----|-----| |--5--|-----|-----|-----|
|--1--|-----|-----|-----| |--2--|-----|-----|-----|
|-----|-----|-----|--4--| |-----|-----|-----|--1--|
|-----|-----|-----|--4--| |-----|-----|-----|--5--|
sus2 Arpeggio
|-----|-----|--3--|-----| |-----|-----|--5--|-----|
|--1--|-----|--3--|-----| |--1--|-----|--2--|-----|
|--1--|-----|-----|-----| |--5--|-----|-----|-----|
|--2--|-----|-----|-----| |--2--|-----|-----|-----|
sus4 Arpeggios for Bass

Arpeggios are the notes of a chord played one at a time. This lesson will cover sus4
Arpeggio Charts
Just line the red notes up with whatever sus4 arpeggio you want it to be. You will
|--1--|-----|-----|-----| - 1st string

|-----|-----|-----|--4--|
|-----|-----|-----|--4--|
|-----|-----|-----|--4--| - 4th string
above arpeggio form at the 5th fret. This would be an Fsus4 arpeggio.
G:----------5------|
D:--------8---8----|
A:--8---8-------8--|
E:----8------------|
G:--------5--------|
D:------8---8------|
A:----8-------8----|
E:--8-----------8--|
Chord Functions
same root. So the chord formula for a sus4 is 1 4 5. See the lesson on basic chord
construction.
1 2 3 4 5 6 7
| | |
G C D = Gsus4 chord notes
sus4 Arpeggios
|-----|-----|-----|--3--| |-----|-----|-----|--4--|
|-----|-----|-----|--3--| |-----|-----|-----|--1--|
|-----|--1--|-----|--3--| |-----|--4--|-----|--5--|
|-----|--1--|-----|-----| |-----|--1--|-----|-----|
|--1--|-----|-----|-----| |--1--|-----|-----|-----|
|--1--|-----|-----|-----| |--5--|-----|-----|-----|
|-----|-----|-----|--4--| |-----|-----|-----|--4--|
|-----|-----|-----|--4--| |-----|-----|-----|--1--|
sus4 Arpeggios
|-----|-----|--3--|-----| |-----|-----|--1--|-----|
|--1--|-----|--3--|-----| |--4--|-----|--5--|-----|
|--1--|-----|-----|-----| |--1--|-----|-----|-----|
|--1--|-----|-----|-----| |--5--|-----|-----|-----|
|--1--|-----|-----|-----| |--5--|-----|-----|-----|
|-----|-----|-----|--4--| |-----|-----|-----|--4--|
|-----|-----|-----|--4--| |-----|-----|-----|--1--|
|-----|-----|-----|--4--| |-----|-----|-----|--5--|
* You can also use your 3rd finger in place of

your 4th and just shift back one fret for the note
that is on the 1st string.
sus4 Arpeggio
|--1--|-----|--3--|-----| |--4--|-----|--5--|-----|
|--1--|-----|-----|-----| |--1--|-----|-----|-----|
|--1--|-----|-----|-----| |--5--|-----|-----|-----|
|-----|-----|-----|--4--| |-----|-----|-----|--4--|
Augmented Arpeggios for Bass
Arpeggios are the notes of a chord played one at a time. This lesson will cover
augmented arpeggios on the neck of the bass. If you are new to arpeggios, be sure to
go through the Basic major and minor arpeggios lesson first. The chord symbol for an
augmented chord is either +, or aug. So C augmented would be C+, or Caug.
Arpeggio Charts
Just line the red notes up with whatever augmented arpeggio you want it to be. You
will need to have a basic understanding of what the names of the notes are on the neck
of the bass to be able to determine what position to play in.
|-----|--1--|-----|-----|-----| - 1st string

|-----|-----|--2--|-----|-----|
|-----|-----|-----|--3--|-----|
|--1--|-----|-----|-----|--4--| - 4th string
above arpeggio form as an F+ with the root on the 3rd string.
G:--------------6------|
D:------------7---7----|
A:--8-------8-------8--|
E:----9-5-9------------|
G:----------6----------|
D:--------7---7--------|
A:------8-------8------|
E:--5-9-----------9-5--|
Chord Functions
same root. So the chord formula for an augmented chord is 1 3 5. See the lesson on
basic chord construction.
1 2 3 4 5 6 7
| | |
G B D = G chord notes
The Symetrical Chord
One thing to realize about augmented arpeggios, is that they symetrical. What this
means is that all of the notes are the same distance apart. So from 1 to 3 is a major 3rd
(2 whole steps). From 3 to #5, and #5 to 1 are also a major 3rd. That means that you
could think of the root as any one of the notes in the arpeggio form. For example,
even thought all 3 arpeggio forms below all have exactly the same fingers, the
functions listed to the right are different. So these are the 3 ways that you could think
of the same arpeggio form.
|-----|--1--|-----|-----|-----| |-----|--3--|-----|-----|-----|
|-----|-----|--2--|-----|-----| |-----|-----|--1--|-----|-----|
|-----|-----|-----|--3--|-----| |-----|-----|-----|-#5--|-----|
|--1--|-----|-----|-----|--4--| |--1--|-----|-----|-----|--3--|
|-----|--1--|-----|-----|-----| |-----|-#5--|-----|-----|-----|
|-----|-----|--2--|-----|-----| |-----|-----|--3--|-----|-----|
|-----|-----|-----|--3--|-----| |-----|-----|-----|--1--|-----|
|--1--|-----|-----|-----|--4--| |--3--|-----|-----|-----|-#5--|
|-----|--1--|-----|-----|-----| |-----|--1--|-----|-----|-----|
|-----|-----|--2--|-----|-----| |-----|-----|-#5--|-----|-----|
|-----|-----|-----|--3--|-----| |-----|-----|-----|--3--|-----|
|--1--|-----|-----|-----|--4--| |-#5--|-----|-----|-----|--1--|
So even though I have broken down the arpeggios below into "root on the 4th strings,
and "root on the 3rd string" forms, remember that any one of the notes could be
considered the root. So you will see duplication in the forms listed. Just remember
that the next note in the arpeggio is either on the next string higher and one fret down,
or it is 4 frets higher on the same string.
Augmented Arpeggios
Root 1st finger

|-----|--1--|-----|-----|-----| |-----|--3--|-----|-----|-----|
|-----|-----|--2--|-----|-----| |-----|-----|--1--|-----|-----|
|-----|-----|-----|--3--|-----| |-----|-----|-----|-#5--|-----|
|--1--|-----|-----|-----|--4--| |--1--|-----|-----|-----|--3--|
Root 2nd finger

|-----|-----|--2--|-----|-----| |-----|-----|--3--|-----|-----|
|-----|-----|-----|--3--|-----| |-----|-----|-----|--1--|-----|
|--1--|-----|-----|-----|--4--| |--3--|-----|-----|-----|-#5--|
|-----|--2--|-----|-----|-----| |-----|--1--|-----|-----|-----|
Root 3rd finger

|-----|-----|-----|--3--|-----| |-----|-----|-----|--3--|-----|
|--1--|-----|-----|-----|--4--| |-#5--|-----|-----|-----|--1--|
|-----|--2--|-----|-----|-----| |-----|--3--|-----|-----|-----|
|-----|-----|--3--|-----|-----| |-----|-----|--1--|-----|-----|
Root 4th finger

|--1--|-----|-----|-----|--4--| |--1--|-----|-----|-----|--3--|
|-----|--2--|-----|-----|-----| |-----|-#5--|-----|-----|-----|
|-----|-----|--3--|-----|-----| |-----|-----|--3--|-----|-----|
|-----|-----|-----|--4--|-----| |-----|-----|-----|--1--|-----|
Augmented Arpeggios
Root 1st finger

|-----|-----|--2--|-----|-----| |-----|-----|--1--|-----|-----|
|-----|-----|-----|--3--|-----| |-----|-----|-----|-#5--|-----|
|--1--|-----|-----|-----|--4--| |--1--|-----|-----|-----|--3--|
|-----|--2--|-----|-----|-----| |-----|-#5--|-----|-----|-----|
Root 2nd finger

|-----|-----|-----|--3--|-----| |-----|-----|-----|--1--|-----|
|--1--|-----|-----|-----|--4--| |--3--|-----|-----|-----|-#5--|
|-----|--2--|-----|-----|-----| |-----|--1--|-----|-----|-----|
|-----|-----|--3--|-----|-----| |-----|-----|-#5--|-----|-----|
Root 3rd finger

|-----|--1--|-----|-----|-----| |-----|-#5--|-----|-----|-----|
|-----|-----|--2--|-----|-----| |-----|-----|--3--|-----|-----|
|-----|-----|-----|--3--|-----| |-----|-----|-----|--1--|-----|
|--1--|-----|-----|-----|--4--| |--3--|-----|-----|-----|-#5--|
Root 4th finger

|-----|-----|--2--|-----|-----| |-----|-----|-#5--|-----|-----|
|-----|-----|-----|--3--|-----| |-----|-----|-----|--3--|-----|
|--1--|-----|-----|-----|--4--| |-#5--|-----|-----|-----|--1--|
|-----|--2--|-----|-----|-----| |-----|--3--|-----|-----|-----|
Bass Guitar Scale Primer

Scales are important. Not only will they help build strength and independence in your
fingers, but they will help train your ears to some common sounds as well. You will
use them in bass line construction, improvisation, and song writing.
Pre-scale
Before learning some real scales, here is a good first step. These are just some finger
exercises. They are written in tablature form, and the numbers above indicate what
fingers your should use.
First just try going up and down using all 4 fingers on the first string
(51K)
Then try going up on both the 2nd and 1st string, and then coming back down.
(85K)
Then try going up on all 4 strings, and back down.
Reading Horizontal Bass Guitar Scale Charts

You have already seen one way that a scale may be written, in tablature form. Other
ways that you will see scales written is the format of a picture that will represents all
of the notes that are in the scale. You would play he scale starting on the lowest
sounding note, work your way to the highest, and then come back down to the lowest
note.
This scale chart is written from the same perspective as

tablature. Meaning that the 4th string is the bottom line, and
the 1st string is the top line.
Major scale
Major scale ascending
descending
On the Internet you may also see a scale chart written using just plain text. The
numbers in this case indicate the fingers that you should use.
|-1-|---|-3-|---| -1st string
|-1-|---|-3-|---|
|-1-|---|-3-|---|
|-1-|---|---|-4-| -4th string
|
5th fret
Reading Vertical Bass Guitar Scale Charts

Scale charts are sometimes written in a vertical format. The chart is just a picture of
the neck of the bass if it was standing up, neck in the air. You would still just play the
notes from the lowest sounding to the highest and back down. If you are familiar with
guitar, this is the same way that chord charts are written.
Text format Graphic format
+---+---+---+
| | | |
1 1 1 1 - 5th
fret
| | | |
+---+---+---+
| | | |
| | | |
| | | |
+---+---+---+
| | | |
| 3 3 3
| | | |
+---+---+---+
| | | |
4 | | |
| | | |
+---+---+---+
| |
4th string 1st string
The "Root" in Bass Guitar Scales
Every scale has a root. This is the basic note that the scale is named after. If you have
an A major scale, then then root is A. In scale charts, the root is often indicated in
some way. In the scale chart below the root is indicated by a red circle.
You will notice that there are 2 notes that are circled in this scale fingering. That is
because there are only so many different notes in any particular scale fingering, before
the names of the notes start over. So both of the note that are circled in red have the
same note name, they are just an octave apart.
If you take the above scale form, and play it so that the root is an A, you have an A
major scale. The 4th string, 5th fret is an A, so that is where you would play this scale.
In order to understand what the name of a scale will be when played at different frets,
you will need to know what the names of the notes on the neck of the bass are.
Especially the 4th and 3rd strings, which all of the basic scale forms that you will
learn will be based from.
Basic Scales for Bass Guitar

Scales are important for a few different reasons
• They build strength and independence in your fingers.

• Playing scales helps to train you ears to recognize some common note
combinations.
• They can be used as note choices in bass line construction, improvisation and
writing of music.
The following five basic scale shapes should be memorized and played daily. They
should be played in all positions, but a good place to start is around the 5th fret. Try to
use the scales in your playing as soon as possible, writing or improvising bass lines
out of them.
The major scale should be one of the first scales that you learn. Besides being a good
warm up and technique builder, the major scale will be the starting point for all
theory. Play the scale going up and down keeping as steady of a beat as possible.
You can also play any one of these scale forms starting on the 3rd string instead of the
4th.
See the scale primer for how to read these scale charts.
Major Major Pentatonic
Minor Minor Pentatonic
Blues
Extending the basic scale forms on the Bass

Here are the basic scale forms from the previous page, only with the addition of the
notes that would be on the 1st string.
Major Major Pentatonic

Minor Minor Pentatonic
Blues
If you have looked at the basic scales lesson, then you already know one form of a
major scale. But there are a lot of ways that you can play the notes of a major scale on
the bass. In this lesson you are going to learn 5 very common major scale fingerings
that together cover the entire neck of the bass.
Major scales only have 7 different notes. So a G major scale consists of the notes G A
B C D E and F#. So in all of the scale forms that you are going to learn here, after the
7th note, the note names will just start over again. So after F# you are back to G.
For more information on the theory behind major scales check out the lessons
below.
Constructing major scales - this is the starting point for understanding all music
theory.
How to think of scale forms on the bass

Technically a G major scale will only go from G to G. That is a one octave major
scale. When looking at scales on the electric bass you are going to be a little less strict
with the definition. We are going to look at a major scale as all of the possible notes
within a position on the neck. That means that the root of the scale (the primary note
that the scale is named after) will not always be the first note in the scale form.
For the G major scale form below, you will not only have the notes from G to G, but
also include the notes on the 1st string.
|--A--|-----|--B--|--C--| -1st string
|--E--|-----|--F#-|--G--|
|--B--|--C--|-----|--D--|
|-----|--G--|-----|--A--| -4th string
|
3rd fret
In the G major scale form below you do not start on G. In fact there is only one G
note in the whole form. So why do we call this a G major scale form? You want to
think of this as the notes of a G major scale. Even though you can not neatly play a
series of notes starting and ending on G, these are the notes of a G major scale. On the
bass you have to think a little more loosely in terms of having to start and end on the
root of a particular scale. You just need to understand where the root is within the
form.
|--B--|--C--|-----|--D--|-----| -1st string

|--F#-|--G--|-----|--A--|-----|
|-----|--D--|-----|--E--|-----|
|-----|--A--|-----|--B--|--C--| -4th string
|
5th fret
Training your ear to hear the root of the scale

Since these major scale forms do not always start and end on the root, here is a good
way to practice them. Start on the lowest root within the form. Then go down to the
lowest note in the scale form, and return back up to the lowest root. You may even
want to pause slightly on the root, just so that your ear can relate all of the other notes
in the scale to that root. Then work your way to the highest note in the scale form, and
then back down to the lowest root again.
Here is an example of this in tablature form
G:----------------------------|------4-5-7-5-4------
D:--5-4-------------------4-5-|--5-7-----------7-5--
A:------7-5-----------5-7-----|---------------------
E:----------8-7-5-7-8---------|---------------------
Putting together the pieces of the scale puzzle

Think of the major scale fingerings that you are about to learn as pieces of a puzzle.
Two adjacent scale forms will share the same notes on the border. Check out these 2
forms of a G major scale. The parts of the scale that are circled show the notes that are
in common.
5 position of a G major scale on the Bass
A major scale only has 7 different note names. Therefore each degree of the scale is
assigned a number from 1 to 7. This number is refereed to as the "scale function".
Which is basically just showing how a particular note in the scale relates to the root
(1). So in all of the scale positions below you will see a suggested fingering, and to
the right you will see the scale functions listed. At the very least you want to know
where the root is in the scale form.
G A B C D E F# = G major scale
1 2 3 4 5 6 7 = Scale functions
Note Names Scale functions
|-A-|---|-B-|-C-| |-2-|---|-3-|-4-|
|-E-|---|-F#|-G-| |-6-|---|-7-|-1-|
|-B-|-C-|---|-D-| |-3-|-4-|---|-5-|
|---|-G-|---|-A-| |---|-1-|---|-2-|
| |
3rd fret 3rd fret
Suggested fingering Scale functions
|-1-|---|-3-|-4-| |-2-|---|-3-|-4-|
|-1-|---|-3-|-4-| |-6-|---|-7-|-1-|
|-1-|-2-|---|-4-| |-3-|-4-|---|-5-|
|---|-2-|---|-4-| |---|-1-|---|-2-|
| |
3rd fret 3rd fret
|-1-|-2-|---|-4-|---| |-3-|-4-|---|-5-|---|
|-1-|-2-|---|-4-|---| |-7-|-1-|---|-2-|---|
|---|-1-|---|-3-|---| |---|-5-|---|-6-|---|
|---|-1-|---|-3-|-4-| |---|-2-|---|-3-|-4-|
| |
5th fret 5th fret
|-1-|---|-3-|---| |-5-|---|-6-|---|
|-1-|---|-3-|-4-| |-2-|---|-3-|-4-|
|-1-|---|-3-|-4-| |-6-|---|-7-|-1-|
|-1-|-2-|---|-4-| |-3-|-4-|---|-5-|
| |
7th fret 7th fret
|-1-|---|-3-|-4-| |-6-|---|-7-|-1-|
|-1-|-2-|---|-4-| |-3-|-4-|---|-5-|
|-1-|-2-|---|-4-| |-7-|-1-|---|-2-|
|---|-2-|---|-4-| |---|-5-|---|-6-|
| |
10th fret 10th fret
|-1-|-2-|---|-4-|---| |-7-|-1-|---|-2-|---|
|---|-1-|---|-3-|---| |---|-5-|---|-6-|---|
|---|-1-|---|-3-|-4-| |---|-2-|---|-3-|-4-|
|---|-1-|---|-3-|-4-| |---|-6-|---|-7-|-1-|
| |
12th fret 12th fret
Once you have played the 5 forms above, you could just start with the first form again
at the 15th fret. This is going to be very important to know once you transpose these
scale forms to other keys.
|-1-|---|-3-|-4-|
|-1-|---|-3-|-4-|
|-1-|-2-|---|-4-|
|---|-2-|---|-4-|
|
15th fret
So if you were going to transpose all of these scale forms to A major, the lowest form
on the neck would be the one below.
|-1-|-2-|---|-4-|---|
|---|-1-|---|-3-|---|
|---|-1-|---|-3-|-4-|
|---|-1-|---|-3-|-4-|
|
2nd fret
Then the next position up would be this.
|-1-|---|-3-|-4-|
|-1-|---|-3-|-4-|
|-1-|-2-|---|-4-|
|---|-2-|---|-4-|
|
5th fret
Again you want to just think of these 5 scale forms as pieces of a puzzle. Learn how
these pieces connect. If you are playing in one position, you want to know what the
next higher and next lower form of the scale would be.
Minor Pentatonic Scales for Bass
Minor pentatonic is a very common scale that is used for both creating bass lines, and
improvising solos. Penta means 5, so there are only 5 different notes in this scale
before you are back to a root.
Here is the most common form of an A minor pentatonic scale in the 5th position. The
numbers indicate the fingering, and the numbers in parentheses indicate the root of the
scale. The root is the primary note that the scale is built from. In the case of an A
minor pentatonic scale, the root is an A note. This scale is moveable, so if you were to
move every note up 2 frets, this same scale shape would be a B minor pentatonic
scale. To get other minor pentatonic scales you just need to line the numbers in
parentheses up with the root you are looking for. Of course you need to have a good
knowledge of where the names of the notes are on the neck of the bass guitar to
quickly move the scale form around to suit your needs.
Basic A Minor Pentatonic Scale (Form 1)

|--1--|-----|--3--|-----| -1st string
|--1--|-----|-(3)-|-----|
|--1--|-----|--3--|-----|
|-(1)-|-----|-----|--4--| -4th string
|
5th fret
If you have been through the basic scales lesson you already know this form. So now
it's time to expand and play the notes of this scale all over the neck of the bass. There
are 5 basic minor pentatonic scale shapes that stay in one position, and 2 that shift
between positions. The best way to start to expand your pentatonic scale knowledge is
to learn the scale shapes that are right below and above the basic scale shape you just
learned. If you start by thinking of the basic minor pentatonic scale shape as home
base, and expand from there you will having an easier time learning the different
positions.
A Minor Pentatonic Scale in 2nd Position (Form 5)
This scale fingering is the next position lower than our basic minor pentatonic scale
pattern. There is no universal naming structure for these scale forms. For the purposes
of this lesson I am going to call this "form 5". The basic minor pentatonic scale form I
am going to call "form 1".
|-(1)-|-----|-----|--4--| -1st string

|--1--|-----|-----|--4--|
|-----|--1--|-----|--3--|
|-----|--1--|-----|-(3)-| -4th string
|
3rd fret
Some bass players will play this scale form with the fingering below.
|-(1)-|-----|-----|--4--| -1st string

|--1--|-----|-----|--4--|
|-----|--2--|-----|--4--|
|-----|--2--|-----|-(4)-| -4th string
|
3rd fret
Here you can see how this new pentatonic scale form fits right in with the first one
that you learned. The right side notes of form 5 at the 5th fret are the same notes as
the left side notes of form 1 at the 5th fret. These 5 basic minor pentatonic scale
shapes that you are learning in this lesson are like pieces of a puzzle. The next
position higher or lower always shares the same notes on one side.
|-(O)-|-----|-----|--O--|-----|--O--|-----| -1st string

|--O--|-----|-----|--O--|-----|-(O)-|-----|
|-----|--O--|-----|--O--|-----|--O--|-----|
|-----|--O--|-----|-(O)-|-----|-----|--O--| -4th string
| | |
3rd fret 5th fret 8th fret
|_______________________| |
form 5 |_______________________|
form 1
A Minor Pentatonic Scale in 7th Position (Form 2)
Now it is time to work our way higher on the neck of the bass. This starts with your
2nd finger on the note that was being played with your 4th finger on the 4th string in
form 1.
|--1--|-----|--3--|-----| -1st
|-(1)-|-----|-----|--4--|
|--1--|-----|-----|--4--|
|-----|--2--|-----|--4--| -4th
|
8th fret
Here is how pentatonic scale form 1 and form 2 fit together on the neck of the bass.
|--O--|-----|--O--|-----|--O--|-----| -1st string

|--O--|-----|-(O)-|-----|-----|--O--|
|--O--|-----|--O--|-----|-----|--O--|
|-(O)-|-----|-----|--O--|-----|--O--| -4th string
| |
5th fret 8th fret
|_______________________| |
form 1 |_______________________|
form 2
We now have 3 minor pentatonic scale forms that fit together, one below and one
above the basic form 1.
|-(O)-|-----|-----|--O--|-----|--O--|-----|--O--|-----| -1st string

|--O--|-----|-----|--O--|-----|-(O)-|-----|-----|--O--|
|-----|--O--|-----|--O--|-----|--O--|-----|-----|--O--|
|-----|--O--|-----|-(O)-|-----|-----|--O--|-----|--O--| -4th string
| | |
|_______________________| | |
form 5 |_______________________| |
form 1 |_______________________|
form 2
Extended A Minor Pentatonic Scale (Form 1)
Now it is time to learn an extended minor pentatonic scale form that makes a path
through the 3 basic forms you have learned so far. The X's indicate the notes of the
extended minor pentatonic in relationship to the 3 forms.
|-(O)-|-----|-----|--X--|-----|--X--|-----|--X--|-----| -1st string

|--O--|-----|-----|--X--|-----|-(X)-|-----|-----|--O--|
|-----|--X--|-----|--X--|-----|--X--|-----|-----|--O--|
|-----|--X--|-----|-(X)-|-----|-----|--O--|-----|--O--| -4th string
| | |
|_______________________| | |
form 5 |_______________________| |
form 1 |_______________________|
form 2
Extended A Minor Pentatonic Scale (Form 1) - Ascending

When ascending you should use your 3rd finger to make the shifts between positions.
This does not mean that in the real world you will always use the 3 finger to shift, but
it is a good way to practice the scale when you are first learning.
|-----|-----|-----|--1--|-----|--3--|-----|--3--|-----| -1st string

|-----|-----|-----|--1--|-----|-(3)-|-----|-----|-----|
|-----|--1--|-----|--3--|-----|--3--|-----|-----|-----|
|-----|--1--|-----|-(3)-|-----|-----|-----|-----|-----| -4th string
| | |
Extended A Minor Pentatonic Scale (Form 1) - Descending

When descending you should use your 1st finger to make the shifts between positions.
|-----|-----|-----|--1--|-----|--1--|-----|--3--|-----| -1st string

|-----|-----|-----|--1--|-----|-(3)-|-----|-----|-----|
|-----|--1--|-----|--1--|-----|--3--|-----|-----|-----|
|-----|--1--|-----|-(3)-|-----|-----|-----|-----|-----| -4th string
| | |
This extended minor pentatonic form is easy to learn if you just think of it as 2
identical 2 string mini forms. Notice how strings 4 and 3 use this shape, and strings 2
and 1.
|--O--|-----|--O--|-----|--O--|
|--O--|-----|-(O)-|-----|-----|
Now it is time to move on up the neck. In this next minor pentatonic scale form you
could use your 1st and 4th fingers as an alternate fingering for the 1st string.
|--1--|-----|-----|--3--| -1st
|-----|--1--|-----|--3--|
|-----|--1--|-----|-(3)-|
|-----|--1--|-----|--3--| -4th
|
10th fret
Here is how forms 2 and 3 connect to each other.
|--O--|-----|--O--|-----|-----|--O--| -1st string

|-(O)-|-----|-----|--O--|-----|--O--|
|--O--|-----|-----|--O--|-----|-(O)-|
|-----|--O--|-----|--O--|-----|--O--| -4th string
| |
8th fret 10th fret
|_______________________| |
form 2 |_______________________|
form 3
Form 4 is the last scale shape that stays in one position. It may feel a little awkward to
play this scale form so high on the neck of the bass, but give it a try. In other keys this
form will be more comfortable and a little lower on the neck.
|--1--|-----|-(3)-|-----| -1st string

|--1--|-----|--3--|-----|
|-(1)-|-----|-----|--4--|
|--1--|-----|-----|--4--| -4th string
|
12th fret
Here are forms 3 and 4 together.
|--O--|-----|-----|--O--|-----|-(O)-|-----| -1st string

|-----|--O--|-----|--O--|-----|--O--|-----|
|-----|--O--|-----|-(O)-|-----|-----|--O--|
|-----|--O--|-----|--O--|-----|-----|--O--| -4th string
| |
10th fret 12th fret
|_______________________| |
form 3 |_______________________|
form 4
Here are forms 2, 3 and 4 together.
|--O--|-----|--O--|-----|-----|--O--|-----|-(O)-|-----| -1st string

|-(O)-|-----|-----|--O--|-----|--O--|-----|--O--|-----|
|--O--|-----|-----|--O--|-----|-(O)-|-----|-----|--O--|
|-----|--O--|-----|--O--|-----|--O--|-----|-----|--O--| -4th string
| | |
8th fret 10th fret 12th fret
|_______________________| | |
form 2 |_______________________| |
form 3 |_______________________|
form 4
Extended A Minor Pentatonic Scale (Form 2)
There is one last extended minor pentatonic form to learn. This extended form cuts a
path through forms 2, 3 and 4. The X's indicate the notes of the extended minor
pentatonic in relationship to the 3 forms
|--O--|-----|--O--|-----|-----|--X--|-----|-(X)-|-----| -1st string

|-(O)-|-----|-----|--X--|-----|--X--|-----|--X--|-----|
|--O--|-----|-----|--X--|-----|-(X)-|-----|-----|--O--|
|-----|--X--|-----|--X--|-----|--X--|-----|-----|--O--| -4th string
| | |
|_______________________| | |
form 2 |_______________________| |
form 3 |_______________________|
form 4
Extended A Minor Pentatonic Scale (Form 2) - Ascending

Just like with the other extended minor pentatonic form, use your 3rd finger to shift
when ascending
|-----|-----|-----|-----|-----|--1--|-----|-(3)-|-----| -1st string

|-----|-----|-----|--1--|-----|--3--|-----|--3--|-----|
|-----|-----|-----|--1--|-----|-(3)-|-----|-----|-----|
|-----|--1--|-----|--3--|-----|--3--|-----|-----|-----| -4th string
| | |
Extended A Minor Pentatonic Scale (Form 2) - Descending

Use your 1st finger to shift when descending
|-----|-----|-----|-----|-----|--1--|-----|-(3)-|-----| -1st string

|-----|-----|-----|--1--|-----|--1--|-----|--3--|-----|
|-----|-----|-----|--1--|-----|-(3)-|-----|-----|-----|
|-----|--1--|-----|--1--|-----|--3--|-----|-----|-----| -4th string
| | |
Just like with the other extended minor pentatonic scale form, this one is build from 2,
2 string mini forms.
|-----|-----|--O--|-----|-(O)-|
|--O--|-----|--O--|-----|--O--|
Full Circle Back to Form 5
If you were to continues higher up the neck beyond form 4, you would play form 5 in
the 14th position. In that position form 5 would be an octave higher than when you
played it in 2nd position. Probably not that useful unless you are soloing, but it is
important to see how the positions come full circle. And also to understand how form
4 and 5 connect together.
|--O--|-----|-(O)-|-----|-----|--O--| - 1st string

|--O--|-----|--O--|-----|-----|--O--|
|-(O)-|-----|-----|--O--|-----|--O--|
|--O--|-----|-----|--O--|-----|-(O)-| - 4th string
| |
12th fret 15th fret
|_______________________| |
form 4 |________________________|
form 5
All 5 Minor Pentatonic Scale Forms Together
Here you can see how all 5 positions of the minor pentatonic scale fit together.
|-(O)-|-----|-----|--O--|-----|--O--|-----|--O--|-----|-----|--O--|--
---|-(O)-|-----|
|--O--|-----|-----|--O--|-----|-(O)-|-----|-----|--O--|-----|--O--|--
---|--O--|-----|
|-----|--O--|-----|--O--|-----|--O--|-----|-----|--O--|-----|-(O)-|--
---|-----|--O--|
|-----|--O--|-----|-(O)-|-----|-----|--O--|-----|--O--|-----|--O--|--
---|-----|--O--|
| | | | |
3rd fret 5th fret 8th fret 10th fret 12th
fret
|_______________________| | | |
|
form 5 |_______________________| | |
|
form 1 |_______________________| |
|
form 2 |_______________________|
|
form 3
|_______________________|
form 4
Of course learning a bunch of scale forms serves no purpose in itself. So go and make
music out of these forms.
The Blues Scale on the Bass Guitar
There is not a "heavy metal" scale. Not a "country" scale. But there is a blues scale.
And this blues scale is not just used in blues music. But it will definitely add a bluesy
sound to what ever style you plug it into.
A blues scale is nothing more than a minor pentatonic scale with an added note. That
added note is sometimes referred to as the "blue note". That particular note creates a
certain amount of tension that is a common sound in the blues.
Below is a basic minor pentatonic scale form, and then that same form with the
addition of the "blue note".....appropriately colored...blue.
Basic minor pentatonic Basic blues
= Numbers show the suggested fingering

= Scale root
= Added blue note
The blues scale only consists of 6 different note names. But when playing a blues
scale on the electric bass you are going to play more than just 6 notes. You are going
to play all of the possible places for those 6 notes within one position.
A C blues scale consists of the notes C E F G G and B . Below are the names of
all of the note in a basic C blues scale form.
|--E -|-----|--F--|-G --| -1st string

|--B -|-----|--C--|-----|
|--F--|-G --|--G--|-----|
|--C--|-----|-----|-E --| -4th string
|
8th fret
So you see that there are only 6 different note names. Once you reach the 6th note,
you will start back with the C note again.
|--2--|-----|--3--|--4--| -1st string

|--6--|-----|--1--|-----|
|--3--|--4--|--5--|-----|
|--1--|-----|-----|--2--| -4th string
|
8th fret
So keep in mind as you play the other blues scale forms found in this lesson, they will
not neatly start and end on the root of the scale. They are just forms that cover all of
the note possibilities in an entire position.
The blues scale formula for Bass

A scale formula shows how the notes relate to a major scale with the same root. The
major scale is the constant to which you compare all other scales. The formula for a
major scale is just 1 2 3 4 5 6 7. There are only 7 different notes in a major
scale. The numbers in a scale formula are sometimes referred to as the scale functions.
That just means that each note in a scale has a certain sound or role in relationship to
the root of the scale. So a D note functions as the 2 in a C major scale.
C D E F G A B C - C major scale
1 2 3 4 5 6 7 1 - scale functions
Therefore if any note in a particular scale is different than the major scale with the
same root, you will show how it is altered by a (sharp) or a (flat) symbol.
So the scale formula for a blues scale is 1 3 4 5 5 7. In a C blues scale there is

an E , and in a C major scale there is an E. So you call the E a 3 since is is a half
step lower than the 3rd note in a C major scale.
C E F G G B C - C blues scale
1 3 4 5 5 7 1 - scale functions
Here is the scale formula applied to the basic blues scale form. Understanding the
function of each note helps you to train your ear to know what a particular note will
sound like, before you play it.
|- 3--|-----|--4--|- 5--| -1st string

|- 7--|-----|--1--|-----|
|--4--|- 5--|--5--|-----|
|--1--|-----|-----|- 3--| -4th string
|
8th fret
5 positions of an A blues scale on the Bass
You should think of these as 5 pieces of a puzzle. The notes to the right in one form,
will be the same as the notes to the left in the next highest form. You can see this in
the 2 forms listed below.
Here you can see the 2 forms from above combined together.
Here are the 5 positions of an A blues scale. The basic form that you have already
learned is the 2nd one listed here. Each scale form is listed in 2 different ways. To the
left you will see the how the scale formula is applied to the scale form, and to the
right you will see a suggested fingering. The names that I have given for each of these
scales are note universal. They only reflect the order that I am introducing them in this
lesson.
These forms should be transposed to other keys as well as A. In order to do this, you
will need to know where the roots are in each scale form. You will also need to study
the relationship of the adjacent scale forms. See how they fit together.
Blues scale form 1
Scale functions Suggested fingering
|--1--|-----|-----|- 3--|-----| |--1--|-----|-----|--4--|-----|

|--5--|-----|-----|- 7--|-----| |--1--|-----|-----|--4--|-----|
|-----|- 3--|-----|--4--|- 5--| |-----|--1--|-----|--3--|--4--|
|-----|- 7--|-----|--1--|-----| |-----|--1--|-----|--3--|-----|
| |
3rd fret 3rd fret
Blues scale form 2

|- 3--|-----|--4--|- 5--| |--1--|-----|--3--|--4--|

|- 7--|-----|--1--|-----| |--1--|-----|--3--|-----|
|--4--|- 5--|--5--|-----| |--1--|--2--|--3--|-----|
|--1--|-----|-----|- 3--| |--1--|-----|-----|--4--|
| |
5th fret 5th fret
Blues scale form 3
|--4--|- 5--|--5--|-----|-----| |--1--|--2--|--3--|-----|-----|

|--1--|-----|-----|- 3--|-----| |--1--|-----|-----|--4--|-----|
|--5--|-----|-----|- 7--|-----| |--1--|-----|-----|--4--|-----|
|-----|- 3--|-----|--4--|- 5--| |-----|--1--|-----|--3--|--4--|
| |
8th fret 8th fret
Click here for more fingering possibilities of form 3
Blues scale form 4
|--5--|-----|-----|- 7--|-----| |--1--|-----|-----|--3--|-----|

|-----|- 3--|-----|--4--|- 5--| |-----|--1--|-----|--3--|--4--|
|-----|- 7--|-----|--1--|-----| |-----|--1--|-----|--3--|-----|
|-----|--4--|- 5--|--5--|-----| |-----|--1--|--2--|--3--|-----|
| |
10th fret 10th fret
Blues scale form 5
|-----|- 7--|-----|--1--|-----| |-----|--1--|-----|--3--|-----|

|-----|--4--|- 5--|--5--|-----| |-----|--1--|--2--|--3--|-----|
|-----|--1--|-----|-----|- 3--| |-----|--1--|-----|-----|--4--|
|- 5--|--5--|-----|-----|- 7--| |--1--|--1--|-----|-----|--4--|
| |
12th fret 12th fret
Blues scale form 1 an octave higher
After form 5, the next higher position is form 1 again only starting an octave higher at
the 15th fret.
|--1--|-----|-----|- 3--|-----| |--1--|-----|-----|--4--|-----|

|--5--|-----|-----|- 7--|-----| |--1--|-----|-----|--4--|-----|
|-----|- 3--|-----|--4--|- 5--| |-----|--1--|-----|--3--|--4--|
|-----|- 7--|-----|--1--|-----| |-----|--1--|-----|--3--|-----|
| |
15th fret 15th fret
Extended blues scale forms on the Bass

The best way to think of these extended blues scale forms is as connections between
the 5 position forms that you just learned.
A Blues (extended form 1)

scale functions
|-----|-----|- 3--|-----|--4--|- 5--|--5--|

|-----|-----|- 7--|-----|--1--|-----|-----|
|- 3--|-----|--4--|- 5--|--5--|-----|-----|
|- 7--|-----|--1--|-----|-----|-----|-----|
| |
3rd fret 9th fret
Suggested fingering
|-----|-----|--1--|-----|--1--|--2--|--3--|
|-----|-----|--1--|-----|--3--|-----|-----|
|--1--|-----|--1--|--2--|--3--|-----|-----|
|--1--|-----|--3--|-----|-----|-----|-----|
| |
3rd fret 9th fret
Below is a diagram that shows how the individual forms fit into this bigger
extended form.
|-----|-----|- 3--|-----|--4--|- 5--|--5--|

|-----|-----|- 7--|-----|--1--|-----|-----|
|- 3--|-----|--4--|- 5--|--5--|-----|-----|
|- 7--|-----|--1--|-----|-----|-----|-----|
|______form 1_____|
|______form 2_____|
|______form 3_____|
A Blues (extended form 2)
scale functions
|-----|-----|-----|-----|- 7--|-----|--1--|
|-----|-----|- 3--|-----|--4--|- 5--|--5--|
|-----|-----|- 7--|-----|--1--|-----|-----|
|- 3--|-----|--4--|- 5--|--5--|-----|-----|
| |
8th fret 14th fret
Suggested fingering
|-----|-----|-----|-----|--1--|-----|--3--|
|-----|-----|--1--|-----|--1--|--2--|--3--|
|-----|-----|--1--|-----|--3--|-----|-----|
|--1--|-----|--1--|--2--|--3--|-----|-----|
| |
8th fret 14th fret
Below is a diagram that shows how the individual forms fit into this bigger
extended form.
|-----|-----|-----|-----|- 7--|-----|--1--|
|-----|-----|- 3--|-----|--4--|- 5--|--5--|
|-----|-----|- 7--|-----|--1--|-----|-----|
|- 3--|-----|--4--|- 5--|--5--|-----|-----|
|______form 3_____|
|______form 4_____|
|______form 5_____|
Chromatic Scales For Bass
The word chromatic in music means 2 or more consecutive notes that are a half step
apart from one another. A chromatic scale contains all 12 possible pitches before
arriving back at the starting note name an octave higher.
Here are the notes in a C chromatic scale. You will see that there are only 12 different
pitches before coming back to C. There are 12 different pitches, but you also see that
the 2nd note in the scale is a C or a D . That is because C and D are just different
ways to spell the same pitch. What you will call that pitch really depends on the
situation.
C chromatic scale
C C /D D D /E E F F /G G G /A A A /B B C
1 2 3 4 5 6 7 8 9 10 11 12 1
Often sharps are used when ascending in the scale, and flats are used when
descending.
When it comes to playing chromatic scales on the bass, you are not necessarily
starting and stopping on the "root" of the scale. In fact, you should not really think in
terms of there being a root for this scale. Any note could be considered the root, and
you are not really going to hear all of the notes in relationship to any one note.
Playing chromatic scales is really just an exercise in understanding how the notes are
arranged on the neck of the bass. Understanding where the next note higher or lower
is, even when switching strings. They are also excellence technique builders.
Chromatic scale form #1

4 notes per string
The first chromatic scale form contains 4 notes on every string. As you move to the
next higher string you will shift back one fret.
If you want to stay in one position when playing a chromatic scale you will use the
following forms. Use form #2 when ascending, and form #3 when descending.

In position, ascending

In position, descending.
Here is a graphic that shows how the notes in form #2 and form #3 compare to each
other. The red line is drawn between the notes that are the same.
You certainly could play form #3 when ascending, and form #2 descending. But it is
easier to have your first finger start on a lower fret and move up than it is to do the
opposite. You are starting out of position, and moving into position.
A position is a 4 fret area where a finger is assigned to each fret. Notes that are one
fret lower than the position are played with your first finger. Notes that fall one fret
higher than the position are played with your fourth finger. When playing
chromatically it is always easier to play a note that is out of position and move into
position than it is to start in position and move out of position. That is why it makes
the most amount of sense to use form #2 while ascending, and form # 3 when
descending.
Chord Construction for Bass Guitar
3 Note Chords - Part 1
This lesson will be in 3 parts. By the end of this series of lessons you will have a basic
understanding of how all 3 note chords are constructed. You will know how to spell
them, and how to apply that knowledge to the neck of the bass. This will include
major, minor, augmented, diminished, sus2 and sus4 chords. All of these chords
contain only 3 different notes names.
If you have gone through the basic chord construction lesson, you have a general idea
of how chords are build. In this lesson we are going to expand that knowledge and
take a look at how you can spell and build any type of chord 3 note chord. There is a
lot of information covered in this lesson, and for most people it is going to take some
study and practice before you are going to fully understand the concepts. Read the
entire lesson all of the way through first. Then go back and start working on the
concepts piece by piece. How to build chords that contain 4 or more different notes
will be covered in another lesson.
Comparing major and minor chords
Being able to understand the difference between a major and a minor chord is a good
first step in understanding how different types of chords are built. A C major chord is
build from the 1st, 3rd and 5th degrees of a C major scale.
1 2 3 4 5 6 7 1 - Scale degrees
|_____|_____| = C (C major chord)
A Dm chord is build from the 2nd, 4th and 6th degrees of a C major scale
1 2 3 4 5 6 7 1 - Scale degrees
|_____|_____| = Dm (D minor chord)
This again was the idea that you learned in the basic chord construction lesson. Be
sure and read that lesson before attempting to understand this one.
A D major chord consists of the 1st, 3rd, and 5th degrees of a D major scale.
D E F G A B C D - D major scale
1 2 3 4 5 6 7 1 - Scale degrees
|_____|_____| = D (D major chord)
So now with this information we can do a comparison between the D major that we
have built from the 1st degree of a D major scale, and the Dm chord which is build
from the 2nd degree of the C major scale.
A D major chord is made up of the notes D, F , and A. And a D minor chord has the
notes D, F and A.
D E F G A B C D - D major scale
1 2 3 4 5 6 7 1
|_____|_____| = D (D major chord)
1 2 3 4 5 6 7 1
|_____|_____| = Dm (D minor chord)
If you look at a D major scale and give each different note in the scale a number, then
a D major chord is made up of 1, 3, and 5 from the major scale.
If you look at a D minor chord and compare it to a D major chord, you will see that
there is only one note that is different. There is an F in the D major chord, and there
is an F in the D minor chord.
So if D major is 1, 3 and 5, then D minor is 1, 3(flat 3) and 5. No matter what chord

you are looking at, you are always going to compare it to the notes of a major scale
with the same root. So what you have learned here is the formula for a major and
minor chord. Each number within the formula is sometimes referred to as the
function. D has the function of being the 1 in a D major chord. An F note functions
as the 3 in a D major chord. Remember....read and re-read....it is not all going to make
sense the first time around.
Here is is a basic D major and D minor chord with the note names and chord
functions written below. We will be talking later in this lesson about applying this
theory to the neck of the bass, but here is a quick example of the different between
major and minor chords on the neck.
Basic D major chord Basic D minor chord

Major and minor chord formulas
major chord formula = 1 3 5

minor chord formula = 1 3 5
So again, the chord formula is just how the notes of a particular chord relate to a
major scale with the same root. Below you can see a C major scale, and how the notes
of a C major chord relate to that. Then you see the notes of a C minor chord, and how
those notes relate to the C major scale.
Major
1 2 3 4 5 6 7 1 - Scale degrees
C E G - C major chord
1 3 5 - major chord formula
Minor
1 2 3 4 5 6 7 1 - Scale degrees
C E G - C minor chord
1 3 5 - minor chord formula
Applying the formulas to the neck
By this point you should already know some basic major and minor arpeggios.
Remember that an arpeggio is just the notes of a chord played individually. As a bass
player you will play chords in arpeggio form most of the time. So now that you
understand the basics of how they are built and what their chord formulas are, it is
time to roll up your sleeves and start applying this theory to the neck of the bass. Take
some different major and minor arpeggio forms that you already know and figure out
what the notes are, and what the function of each note is within the chord/arpeggio.
The function is the formula number. A D major chord is D(1), F (3), and A(5). So the
function of the A note in the D major chord is 5. Another way to think about the
function is the role that a note plays within the chord. Every note in a chord has a
certain sound and role in the overall chord sound.
You are also going to need to know the names of the notes on the neck of the bass, or
at least be able to figure out what they are. It is going to be slow going if you don't
have a good grasp on the names of the notes on the neck. That is going to be key to
being able to apply music theory to the bass.
Counting on your fingers
So step one is to figure out what the names of the notes in the chord/arpeggio are. But
what if there is a sharp or flat, how will you know what to call the note?
For example the note on the 4th string, 2nd fret, and the note on the 2nd string, 4th
fret in a D major arpeggio could be an F , or a G .....or can it?
So here is a basic D major arpeggio.
|--1--|-----|-----|-----| - 1st string

|-----|-----|--3--|-----|
|-----|-----|-----|--4--|
|--1--|-----|-----|--4--| - 4th string
|
2nd fret
|--A--|-----|-----|-----| - 1st string

|-----|-----|F#/Gb|-----|
|-----|-----|-----|--D--|
|F#/Gb|-----|-----|--A--| - 4th string
|
2nd fret
From what you have learn about chord theory so far, you know that a major chord has
a 1, 3 and 5. Now if you count on your fingers starting with D as 1, E as 2, F as 3, G
as 4, and A as 5.
Note - I find it easier to count starting from my 4th finger, you can
start from your thumb if you want......it doesn't matter.
So we can see that the D is obviously the 1 of the chord, the A is the 5, but the 3 has
to be some sort of F note. So therefore the F is the correct way to name the note.
Calling it a G would make that note some sort of 4. So in this case it does make a
difference what you call the note.
When you are using your fingers like this, you are just using natural notes. This is not
meant to figure out exactly what note is in a chord, only how the notes function within
the chord. And if there is more than one name for a note like F and G , then it will
help you decide between the 2.
For the fingerings and functions for the basic major and minor arpeggios, check out
these lessons.
Chord formulas for augmented,

diminished, sus2, and sus4 chords
Once you understand the concept of the chord formulas that you learned so far, you
can start to put together an understanding of how the other 3 note chords are
constructed. Just remember that the function numbers ( 3, 3, 5, 5, etc.) are just how
the notes in the chord relate to the major scale that has the same root as the chord.
Here are the formulas for the remaining 3 note chords.
augmented chord formula = 1 3 5

diminished chord formula = 1 3 5
sus2 chord formula = 1 2 5
sus4 chord formula = 1 4 5
augmented
1 2 3 4 5 6 7 1 - Scale degrees
C E G - C augmented chord
1 3 5 - augmented chord formula
diminished
1 2 3 4 5 6 7 1 - Scale degrees
C E G - C diminished chord
1 3 5 - diminished chord formula
sus2
1 2 3 4 5 6 7 1 - Scale degrees
C D G - Csus2 chord
1 2 5 - sus2 chord formula
sus4
1 2 3 4 5 6 7 1 - Scale degrees
C F G - Csus4 chord
1 4 5 - sus4 chord formula
Part 2 of this lesson will cover how to spell any 3 note chord.
Part 3 will cover how to further apply the theory learned in the previous parts to the neck of
the bass. You will learn how to alter basic chord and arpeggio shapes that you already know
to form other types of chords. coming soon
Chord Construction for Basss Guitar

How to spell different 3 note chords
Be sure to have read these lessons first.
Basic Chord Construction - learn the basic theory behind chord construction and how it is
applied to the bass.
Chord Construction - 3 Note Chords - Part 1 - This lesson will give you a basic understanding
of how all 3 note chords are constructed, and how to apply that theory to the neck of the bass.
This will include major, minor, augmented, diminished, sus2 and sus4 chords.
With the method that I am going to show you next, you are going to learn how to spell
any major, minor, augmented, diminished, sus2 and sus4 chord. It is really quite easy
once you know the trick.
First you have to KNOW the basic 3 notes chords built from a C major scale. Why a
C major scale? Because the key of C major has no sharps or flats, and the chords built
from that scale will contain only natural notes.
| | | | | | |
C Dm Em F G Am Bdim - Chord Name
| | | | | | |
G A B C D E F \
E F G A B C D - Notes in each chord
C D E F G A B /
You are going to use these 7 chords as your starting point to spell every 3 note chord.
So no matter what type of chord you have, if it has a root of C, C or C you are going
to use a C major chord as your starting point. For every chord with a root of D, D , or
D , you are going to use a Dm chord as your starting point.
So armed with the knowledge of how to spell a C major chord, and the knowledge of
the chord formulas for all of the other 3 note chords, you will be able to spell every
type of C, C or C chord.
Formulas for all types of 3 note chords
major = 1 3 5
minor = 1 3 5
augmented = 1 3 5
diminished = 1 3 5
sus2 = 1 2 5
sus4 = 1 4 5
So a C chord is C(1) E(3) G(5).

major = 1 3 5 (C E G)
Knowing that the formula for minor is 1 3 5, you will lower the E(3) to an E ( 3) for
a Cm chord.
minor = 1 3 5 (C E G)
Augmented is 1 3 5, so in a C augmented you will raise the G(5) to a G ( 5).

augmented = 1 3 5 (C E G )
A diminished chord is 1 3 5, so for a C diminished you will lower the E(3) to an E (

3) and the G(5) to a G ( 5).
diminished = 1 3 5 (C E G )
We will look at sus2 and sus4 chords shortly.
Examples for major, minor,

augmented and diminished chords
Here are a few more examples, and the thought process that you want to go through to
figure out how to spell the different chords.
In order to know how to spell a D major chord you need to use the D minor chord as
your starting point. You will use Dm as your starting point for any chord with the root
of D, D , or D . That again is because Dm contains no sharps or flats. Therefore you
use the Dm as a baseline template that you will alter to get every other D related
chords.
Dm = D(1), F( 3), A(5)
The chord formula for a minor chord is 1 3 5. So therefore we need to raise the F( 3)
in a Dm chord to an F (3) for the D major chord.
D = D(1), F (3), A(5)
Gm
In order to know how to spell a Gm chord you need to use G major as your starting
point.
G = G(1), B(3), D(5)
The chord formula for major is 1 3 5. The chord formula for a minor chord is 1 3 5.
So therefore we need to lower the B(3) in the G major chord to a B ( 3) to spell a Gm
chord.
Gm = G(1), B ( 3), D(5)
Bm
In order to know how to spell a Bm chord you need to use the Bdim chord as your
starting point.
Bdim = B(1), D( 3), F( 5)
The chord formula for diminished is 1 3 5. The chord formula for a minor chord is 1
3 5. So therefore we need to raise the F( 5 )in a Bdim chord to an F (5) for the Bm
chord.
Bm = B(1), D( 3) F (5)
Fm
In order to know how to spell an Fm chord, you need to use an F major chord as your
starting point.
F = F(1), A(3), C(5)
The formula for a major chord is 1 3 5, and a minor chord has the formula of 1 3 5.
So you just have to lower the A(3) in the F major chord to an A ( 3) in an F minor
chord.
Fm = F(1), A ( 3), C(5)

More examples
D
In order to know how to spell a D chord, you need to use a Dm chord as your starting
point. Again you will use Dm as your started point for any chord with the root of D,
D , or D . That is because Dm contains no sharps or flats. Therefore you use the Dm
as a baseline template that you will alter to get all other D related chords.
Dm = D(1), F( 3), A(5)
Because the D chord has a different root than our Dm starting chord, there is an extra
step that you have to go through. You will start by lowering every note in the Dm
chord by a half step so that the root of your starting chord is D . You now have a D m
chord that you are going to alter to get your D major chord. This intermediate step is
going to be important. In order to alter our base chord to fit what we need, the roots
must be the same.
D m = D (1), F *( 3), A (5)
*Note to those or you that are confused by the use of an F instead of using an E. Even
though F sounds the same as E, and in a lot of situations we would just call this note by it's
more simple name...this is not the case here. F is 3 of a D m chord. Even though E and F
do sound the same, it makes a difference when spelling chords. E would be some sort of 2,
and therefore is not part of our minor chord formula.
Knowing that a minor chord consists of 1 3 5, and major is 1 3 5, you are going to
raise the F ( 3) in the D minor chord to an F(3) which will be 3 in the D major chord.
D = D (1), F(3), A (5)
G aug
In order to know how to spell a Gaug chord, you need to use the G major chord as
your starting point.
G = G(1), B(3), D(5)
First sharp everything in the G major chord to spell a G major chord. You have to do
this first so that you are dealing with a base chord that has the same root as the one
you are trying to spell.
G = G (1), B (3), D (5)
The formula for major is 1 3 5. The formula for augmented is 1 3 5. So therefore we

have to raise the D (5) in the G major chord up a half step. That will not be an E
note...it will be a D . The is the symbol for a double sharp. A double sharp is were
you are raising a natural note up 2 half steps. Sometimes that is just how the spelling
of a chord will work out. There may be a double sharp or even a double flat which is
just written as 2 flats side by side ( )
G aug = G (1), B (3), D ( 5)
Now that you understand the concept of spelling major, minor, augmented and
diminished chords, try spelling some chords yourself. Below are the links to the
answers. So try a few, then check yourself and see if you are right. If not, go back and
read this section of the lesson again. I would start with chords that have natural roots
(A B C D E F G), then work on chords that have a root that is either sharp or flat. I
would also start with major and minor chords, since they are more common. Then
work on the augmented and diminished chords.
Spelling sus2 and sus4 chords
Building sus2 and sus4 chords is going to take an extra bit of information. You are
going to need to understand how 2 and 4 relate to our 3 and 3. Remember that all
natural notes are a whole step apart, except between E-F and B-C. So if we look at a C
major scale, the half steps fall between the 3rd and 4th degrees of the scale, and the
7th and 8th degrees (or 1 an octave higher).
C major scale
C D E F G A B C
1 2 3 4 5 6 7 1
\/\/\/\/\/\/\/
W W H W W W H
W = Whole step
H = Half step
Half step relationships
2 3 3 4
\/\/\/
H H H
3 is up a half step from 2

So therefore you can learn to spell any sus2 or sus4 chord by altering the major and
minor chords that you can already spell.
2 = a whole step lower than 3

2 = a half step lower than 3
4 = a half step higher than 3

4 = a whole step higher than 3
So a C chord is C(1), E(3,) G(5).

major = 1 3 5 (C E G)
Knowing that the formula for sus2 is 1 2 5, you will lower the E(3) to a D(2) in a
Csus2 chord.
sus2 = 1 2 5 (C D G)
Knowing that the formula for sus4 is 1 4 5, you will raise the E(3) to an F(4) in a
Csus4 chord.
sus4 = 1 4 5 (C F G)
Dsus2, Dm, D, and Dsus4
Take a look a Dsus2, Dm, D, and Dsus4 arpeggio below. This is a very easy way to
see how these chords relate to each other.
Dsus2
|---|---|---|---| -1st string
|-A-|---|---|---| E is on the 3rd string 7th fret, and
|-E-|---|---|---| the 2 of a Dsus2 chord.
|---|---|---|-D-| -4th string
|
10th fret
Dm
|---|---|---|---| -1st string
|-A-|---|---|---| F is a half step higher than the E,
|---|-F-|---|---| and is the 3 of a Dm chord.
|---|---|---|-D-| -4th string
|
10th fret
D
|---|---|---|---| -1st string
|-A-|---|---|---| F is up half step from F, and is
|---|---|-F#|---| the 3 of a D major chord.
|---|---|---|-D-| -4th string
|
10th fret
Dsus4
|---|---|---|---| -1st string
|-A-|---|---|---| G is up a half step from F , and is
|---|---|---|-G-| the 4 in a Dsus4 chord.
|---|---|---|-D-| -4th string
|
10th fret
sus2 and sus4 chord spelling examples
Here are some examples of how to spell sus2 and sus4 chords.
Dsus2
In order to know how to spell a Dsus2 chord, you need to use the D minor chord as
Dm = D(1), F( 3), A(5)
The chord formula for a minor chord is 1 3 5. The chord formula for sus2 is 1 2 5. So
you need to lower the F( 3) of the Dm chord down a half step from F to E. It is also
important that the E is a 2. If you were to lower the F to an F , this would end up
being a 1 3 5....and we don't want double flat 3, we want 2. Count on your hand if
you need to.
Dsus2 = D(1), E(2), A(5)
Esus4
In order to know how to spell an Esus4 chord, you need to use an E minor as your
starting point.
Em = E(1), G( 3), B(5)
The chord formula for a minor chord is 1 3 5. The chord formula for sus4 is 1 4 5. A
4 is going to be up a whole step from 3. So you are going to raise the G( 3) up to
A(4).
Esus4 = E(1), A(4), B(5)

G sus2
In order to know how to spell an G sus2 chord, you need to use a G major chord as
G = G(1), B(3), D(5)
Lower all of the notes to get a major chord with same root as the chord you are trying
to spell....G .
G = G (1), B (3), D (5)
The chord formula for a major chord is 1 3 5. The chord formula for sus2 is 1 2 5. A 2
is going to be down a whole step lower than a 3. So you are going to lower the B ( 3)
down to A (2).
G sus2 = G (1), A (2), D (5)
Now that you have seen a few examples and understand the concept, it is time to try
and spell a few yourself. I would start with the chords that have natural roots (A B C
D E F G), then try the sharp and flat roots. Click on the button below for how to spell
all of the sus2 and sus4 chords. Use this to check yourself.
Chord Construction for Bass Guitar

Altering basic arpeggio forms
on the neck of the bass
This is the 3rd and last part in a series of lessons on how to construct different 3 note
chords. If you have not read the following lessons, they are prerequisites to
understanding this lesson.
Be sure to have read these lessons first.
Chord Construction - 3 Note Chords - Part 1 - This lesson will give you a basic understanding
of how all 3 note chords are constructed, and how to apply that theory to the neck of the bass.
This will include major, minor, augmented, diminished, sus2 and sus4 chords.
Chord Construction - 3 Note Chords - Part 2 - This lesson covers how to spell any 3 note
chord.
Once you understand the basic concept of what chord formulas are and how to spell
different 3 note chords, your next step is to use this information to decode some of the
chord forms that you already know. Then you can use your knowledge of music
theory to alter them into other chord types. On the bass, chords most often take the
form of arpeggios. An arpeggio is just the notes of a chord played individually.
Understanding this lesson is going to be very difficult if you are not familiar with the
names of the notes on the neck of the bass. So if this is a weak point for you
....STUDY THEM. Knowing the names of the notes on the neck of the bass is a
prerequisite to being able to apply music theory.
Be sure and check out the Arpeggios section for some of the basic arpeggios shapes
that will be used in this lesson.
For this first example we are going to take an A major arpeggio and convert it to an
Am.
Converting A to Am
Converting A to Am is easy enough. An A chord is A(1), C (3), and E(5). Just lower
the C (3) on the 3rd and 1st strings down a half step to C( 3).
|---|---|-C |---| -1st string

|---|---|---|-A-|
|-C |---|---|-E-|
|---|-A-|---|---| -4th string
|
5th fret
A = 1, C = 3, E = 5
Am
|---|---|-C-|---|---| -1st string
|---|---|---|---|-A-|
|-C-|---|---|---|-E-|
|---|---|-A-|---|---| -4th string
|
5th fret
A = 1, C = 3, E = 5
Sure, this Am arpeggio shape is a little bit of a stretch. But you may find a use for it at
certain times. If you take that C note on the 3rd string and move it to the 4th string,
you will find one of the most basic minor arpeggio shapes.
Am
|---|-C-|---|---|---| -1st string
|---|---|---|-A-|---|
|---|---|---|-E-|---|
|---|-A-|---|---|-C-| -4th string
|
5th fret
A = 1, C = 3, E = 5
Here is another basic major arpeggio shape.
A
|-A-|---|---|---| -1st string
|-E-|---|---|---|
|---|---|-C |---|
|---|---|---|-A-| -4th string
|
5th fret
A = 1, C = 3, E = 5
To convert this to a minor arpeggio just lower the C (3) on the 3rd string down a half
step to C( 3).
Am
|-A-|---|---|---| -1st string
|-E-|---|---|---|
|---|-C-|---|---|
|---|---|---|-A-| -4th string
|
5th fret
A = 1, C = 3, E = 5
Converting A to A+ (augmented)
An A chord is A(1), C (3), and E(5). An A+ chord is A(1), C (3), and E ( 5). So just
raise the E(5) on the 3rd string to an E ( 5).
|---|---|-C |---| -1st string

|---|---|---|-A-|
|-C |---|---|-E-|
|---|-A-|---|---| -4th string
|
5th fret
A = 1, C = 3, E = 5
A+
|---|---|-C |---|---| -1st string

|---|---|---|-A-|---|
|-C |---|---|---|-E |
|---|-A-|---|---|---| -4th string
|
5th fret
A = 1, C = 3, E = 5
Note the 5 is called E and not F. F would be a 6. Even though E and F sound
exactly the same, the note name has to reflect the function within the chord.
Here is the other common A major arpeggio with the root on the 4th string converted
to an A+.
A
|-A-|---|---|---| -1st string
|-E-|---|---|---|
|---|---|-C |---|
|---|---|---|-A-| -4th string
|
5th fret
A = 1, C = 3, E = 5
Raise the E(5) on the 2nd string to an E ( 5)
A+
|-A-|---|---|---| -1st string

|---|-E |---|---|
|---|---|-C |---|
|---|---|---|-A-| -4th string
|
5th fret
A = 1, C = 3, E = 5
Converting A to Ao (diminished)
Here is how you could make an A diminished arpeggio. An A major chord is A(1), C
(3), and E(5). An A diminished is A(1), C( 3), and E ( 5).
|---|---|-C |---| -1st string

|---|---|---|-A-|
|-C |---|---|-E-|
|---|-A-|---|---| -4th string
|
5th fret
A = 1, C = 3, E = 5
So to convert and A major to an A diminished I'm going to lower the C (3) on the 3rd
and 1st strings down a half step to C( 3). I am also going to lower the E(5) on the 3rd
string down to E ( 5).
Ao
|---|---|-C-|---|---| -1st string
|---|---|---|---|-A-|
|-C-|---|---|-E |---|
|---|---|-A-|---|---| -4th string
|
5th fret
A = 1, C = 3, E = 5
Sure, this does not give you a nice neat comfortable fingering, but keep this in mind.
In a real life playing situation you are not necessarily going to be playing all 4 strings
of an arpeggio. The notes on the 3rd and 4th strings are a very common shape that is
used to create bass lines over an A diminished chord.
If you were to convert the basic A minor arpeggio form below to an A diminished,
that would give you a little more comfortable fingering.
Am
|---|-C-|---|---|---| -1st string

|---|---|---|-A-|---|
|---|---|---|-E-|---|
|---|-A-|---|---|-C-| -4th string
|
5th fret
A = 1, C = 3, E = 5
Lower the E(5) on the 3rd string to E ( 5).
Ao
|---|-C-|---|---|---| -1st string
|---|---|---|-A-|---|
|---|---|-E |---|---|
|---|-A-|---|---|-C-| -4th string
|
5th fret
A = 1, C = 3, E = 5
Here is another common major arpeggio shape converted to an A diminished.
|-A-|---|---|---| -1st string

|-E-|---|---|---|
|---|---|-C |---|
|---|---|---|-A-| -4th string
|
5th fret
A = 1, C = 3, E = 5
Lower the C (3) on the 3rd string down a half step to C( 3), and lower the E(5) on the
2nd string down to E ( 5).
Ao
|---|-A-|---|---|---| -1st string
|-E |---|---|---|---|
|---|---|-C-|---|---|
|---|---|---|---|-A-| -4th string
|
5th fret
A = 1, C = 3, E = 5
This is not necessarily a comfortable position, but it will be useful to know where
these notes are located.
Converting A to Asus2
An A chord is A(1), C (3), and E(5), and an Asus2 is A(1), B(2), and E(5). So you are
going to lower the C (3) on the 3rd and 1st strings down to a B(2) a whole step lower.
|---|---|-C |---| -1st string

|---|---|---|-A-|
|-C |---|---|-E-|
|---|-A-|---|---| -4th string
|
5th fret
A = 1, C = 3, E = 5
Asus2
|---|---|-B-|---|---|---| -1st string
|---|---|---|---|---|-A-|
|-B-|---|---|---|---|-E-|
|---|---|---|-A-|---|---| -4th string
|
5th fret
A = 1, B = 2, E = 5
That looks nice on paper, but you are not going to play this. This is an example of a
theoretically correct arpeggio form, but not a practical or useful one. Move that B to
the 4th string and you are in business.
Asus2
|-B-|---|---|---| -1st string
|---|---|---|-A-|
|---|---|---|-E-|
|---|-A-|---|-B-| -4th string
|
5th fret
A = 1, B = 2, E = 5
Here is the other common major arpeggio shape with the root on the 4th string
converted to an Asus2.
A
|-A-|---|---|---| -1st string
|-E-|---|---|---|
|---|---|-C |---|
|---|---|---|-A-| -4th string
|
5th fret
A = 1, C = 3, E = 5
Lower the C (3) on the 3rd string down to a B(2) a whole step lower. You could also
add the B(2) to the 1st string a whole step higher than A(1).
Asus2
|-A-|---|-B-|---| -1st string

|-E-|---|---|---|
|-B-|---|---|---|
|---|---|---|-A-| -4th string
|
5th fret
A = 1, B = 2, E = 5
Converting A to Asus4
An A chord is A(1), C (3), and E(5), and an Asus4 is A(1), D(4), and E(5). So you are
going to raise the C (3) on the 3rd and 1st strings up to a D(4) a half step higher.
|---|---|-C |---| -1st string

|---|---|---|-A-|
|-C |---|---|-E-|
|---|-A-|---|---| -4th string
|
5th fret
A = 1, C = 3, E = 5
Asus4
|---|---|---|-D-| -1st string
|---|---|---|-A-|
|---|-D-|---|-E-|
|---|-A-|---|---| -4th string
|
5th fret
A = 1, D = 4, E = 5
Here is the other common major arpeggio shape with the root on the 4th string
converted to an Asus4.
A
|-A-|---|---|---| -1st string
|-E-|---|---|---|
|---|---|-C |---|
|---|---|---|-A-| -4th string
|
5th fret
A = 1, C = 3, E = 5
Raise the C (3) on the 3rd string up to a D(4).
Asus4
|-A-|---|---|---| -1st string
|-E-|---|---|---|
|---|---|---|-D-|
|---|---|---|-A-| -4th string
|
5th fret
A = 1, D = 4, E = 5
If there is one thing that you have learned in this lesson, it is that things are not always
nice and neat when applying music theory to the bass. Not only do you have to find an
answer that is theoretically correct, but one that you can physically play. Be sure that
you go back an reread this lesson, and all 3 lessons in this series for that matter. Don't
just read it once and say "I don't get it". Go back and work through each part, read and
reread. As you start to understand this material more and more, you are going to find
many doors will start to open up that were closed before.
Intervals on the Bass Guitar
Interval basics
An interval in music is a measurement of distance and sound between two different

notes. The first thing that you should understand in your interval journey, is what the
intervals are in a major scale. Remember that the major scale is a constant in music
theory. You will be using it again and again to compare and relate other topics.
C Major scale = C D E F G A B C
Below are all of the intervals from C in a C major scale.
C D E F G A B C
1 2 3 4 5 6 7 8
|_| = Major 2nd (M2)...AKA Whole step
C D E F G A B C
1 2 3 4 5 6 7 8
|___| = Major 3rd (M3)
C D E F G A B C
1 2 3 4 5 6 7 8
|_____| = Perfect 4th (P4)
C D E F G A B C
1 2 3 4 5 6 7 8
|_______| = Perfect 5th (P5)
C D E F G A B C
1 2 3 4 5 6 7 8
|_________| = Major 6th (M6)
C D E F G A B C
1 2 3 4 5 6 7 8
|___________| = Major 7th (M7)
C D E F G A B C
1 2 3 4 5 6 7 8
|_____________| = Perfect 8th, or Octave (P8)
Major scale interval shapes
The scale form to the right is the most common and basic
fingering for a major scale. It will be used to help
visualize the basic interval shapes.
From the 1st degree of the scale to the 2nd is called a M2

major 2nd.
M3
From the 1st degree of the scale to the 3rd is called a
major 3rd.
From the 1st degree of the scale to the 4th is called a P4

perfect 4th.

perfect 5th.
From the 1st degree of the scale to the 6th is called a M6
major 6th
From the 1st degree of the scale to the 7th is called a M7

major 7th

perfect 8th or and octave.
Filling in the cracks...the rest of the intervals
If you take any major interval, and lower the top note by a half step (1 fret) you will
have a minor interval.
C Db D E F G A B C
1 b2 2 3 4 5 6 7 8
|_| = Minor 2nd (m2)
C D Eb E F G A B C
1 2 b3 3 4 5 6 7 8
|___| = Minor 3rd (m3)
C D E F G Ab A B C
1 2 3 4 5 b6 6 7 8
|_________| = Minor 6th (m6)
C D E F G A Bb B C
1 2 3 4 5 6 b7 7 8
|___________| = Minor 7th (m7)
If you take any perfect interval and raise the top note by a half step, then you have
augmented interval. If you lower it by a half step, you have a diminished interval. So
if you raise the top note of a perfect 4th interval, you have an augmented 4th. If you
lower a perfect 5th interval, you have diminished 5th. These are really just 2 ways to
spell the same interval. These 2 intervals are enharmonic. That means that they are
spelled different, but sound the same. There is a generic name for this interval
regardless of how it is spelled, it is called a tritone.
Tritone (tt)
C D E F F# G A B C
1 2 3 4 #4 5 6 7 8
|________| = Augmented 4th (+4)
The + stands for augmented.
C D E F Gb G A B C
1 2 3 4 b5 5 6 7 8
|________| = Diminished 5th (o5)
The o stands for diminished.

ntervals and understanding the fretboard
Of course just understanding the theory behind intervals is not enough for them to
become useful to you. You will need to do some work learning the different places on
the neck to play them, and what they sound like. This will open up a whole new world
of understanding the neck of the bass.
Before sitting down and just memorizing all of the interval shapes, you should
understand how they are derived. On the last couple of pages you learned some basic
shapes for these interval, but now it is time to learn the possibilities a little more in-
depth.
The first step in learning these interval shapes is to understand how the notes on the
neck are arranged. (see names of notes on the neck and basic tuning)
Here is an example of how you find the exact same note (not an octave) on different
strings. If you want to find another place to play the E on the 3rd string, 7th fret, you
need to do the following. Go up 5 frets on the next lower string (4th string) or go
down 5 frets on the next string higher (2nd string).
<-------down--------- ------------up------->
This is the same idea used in tuning your bass. You play the 5th fret on the 4th string
(A), to tune your 3rd string open (A)
Here is an example using the perfect 5th interval. Here you are trying to play the
interval of a perfect 5th (within normal reaching distance.... about 4 frets) in 2
different places.
<-------down--------- ------------up------->
From A on the 4th string to E on the 3rd string is a perfect 5th. In order to find a
different shape for the exact same interval, you need to do the following. If the top
note of the interval (E) is to the right of the root, then you need to find the top note on
the next highest string (to the left). If the top note of the interval is to the left of the
root, then you need to find the top note on the next lowest string (to the right). I know
this sounds a little confusing but it is the same idea as above, just counting up or down
from the root, instead of counting 5 frets from the highest note in the interval. The
magic number here is 5 either way.
If the top note is to the right of the root 2 frets, go to the left of the root 3 frets on the
next higher string. (2+3=5)
If the top note is to the left of the root 3 frets, go to the right of the root 2 frets on the
next lower string. (3+2=5)
Things to do
Try taking the simple interval shapes that you learned on the previous pages (you did
learn them didn't you?) and find another way to play that same interval within a 4 fret
area. There should be 2 places to play every interval, except the perfect 4th and the
minor 7th. Playing these interval in a different place would require a bigger stretch
that 4 frets.
All interval shapes within a 4 fret area
These are the basic interval shapes on the bass guitar within a 4 fret area. You can
definitely play interval outside of this range, but concentrate on these first. Each
interval shape can be played on any combination of strings.
minor 2nd
(1 to b2)
major 2nd
(1 to 2)
minor 3rd
(1 to b3)
major 3rd
(1 to 3)
perfect 4th
(1 to 4)
tritone (augmented 4th or diminished 5th)

(1 to #4 or 1 to b5)
perfect 5th
(1 to 5)
minor 6th
(1 to b6)
major 6th
(1 to 6)
minor 7th
(1 to b7)
major 7th
(1 to 7)
perfect 8th (or octave)
(1 to 8)
Major Key Harmony for Bass Guitar

A key consists of a group of notes and the chords derived from that group of notes. A
key also has one primary note and one primary chord that is build from that note. All
other notes and chords are heard in relationship to this primary note/chord. This
primary note is the key center, or tonal center. The group of notes that is used in a
key is called a scale.
The focus of this lesson is to take a look at major keys. The key that uses the major
scale as its group of notes. A key is just a flavor or color of sound. A song may stay in
one key, or it may change many times throughout.
Prerequisites for this lesson:
Constructing major scales - This is the starting point for understanding all music theory.
How the chords function in the key
For this lesson we are going to first look at the key of C major. As you learned in the
basic chord construction lesson, the basic chords built from a C major scale are C,
Dm, Em, F, G, Am, and Bo. Each chord has a function within the key. The word
function just means that each chord has a unique sound in relationship to the main
chord of the key. The main chord in a key is called the tonic chord, and in this case
that is a C major.
To show how each chord functions in the key, Roman numerals are used as a way to
both indicates the degree of the scale that a chord is built on, and the chord quality
(major, minor, etc.) A Roman numeral by itself like I, IV, or V indicates a major
chord. A small m after it means that the chord is minor. So IIm, IIIm, and VIm are
all minor chords. The small circle after the Roman numeral will indicate a diminished
chord, like VIIo.
Chord functions in the key of C major
| | | | | | |
C Dm Em F G Am Bo - Chord Name
I IIm* IIIm IV V VIm VIIo - Function
*Traditional classical theory uses a lower case Roman numeral to indicate a minor
chord function....ii, iii, vi. And the small m is not used. It more modern theory...Jazz,
Rock, and other contemporary music, chord functions use capital Roman numerals.
Then a small m is used if the chord is minor, a small circle is used for diminished, and
there are other modifiers as well that will tell you what the quality of the chord is.
(Ex. IIm, IIsus2, II7)
The harmonization (creation of chords or harmony) of a major scale will always

follow the same pattern, no matter what major key you are in. The basic chord build
on the 1st degree of the scale is major, the 2nd is minor, the 3rd is minor, the 4th is
major, the 5th is major, the 6th is minor and the 7th is diminished.
major minor minor major major minor diminished
o
I IIm IIIm IV V VIm VII
Basic chords and functions in all of the major keys
Below is a table of all of the basic diatonic chords in every major key. Diatonic
means that all of the notes in the chord (or a melody) are contained within a particular
scale or key. A major scale in this case.

C Dm Em F G Am Bo
G Am Bm C D Em F o
D Em Fm G A Bm C o
A Bm Cm D E Fm G o
E Fm Gm A B Cm D o
B Cm Dm E F Gm A o
F Gm Am B C Dm E o
o
C Dm Em F G Am B
F Gm Am B C Dm Eo
B Cm Dm E F Gm Ao
E Fm Gm A B Cm Do
A Bm Cm D E Fm Go
D Em Fm G A Bm Co
G Am Bm C D Em Fo
o
C Dm Em F G Am B
The chords in a major key

A visual relationship
The bass is a very visual instrument. We learn to play arpeggios and scales as shapes
and patterns. So you can also use this visual aspect to learn how the chords in a major
key relate to each other. Just like you can learn a fingering for a major scale, and then
move it up and down the neck to change keys. When you play chords on the bass
most of the time they are in the form of arpeggios. An arpeggio is just the notes of a
chord played one at a time rather than simultaneously.
Chords in relationship the I chord on the 4th string
As an example, lets use the key of A. You are going to play some basic arpeggios in
the key centering around a major arpeggio with the root on the 4th string.
Below are the chords in the key of A.
A Bm C#m D E F#m G#o
Here is a basic A major scale fingering. What you are going to be playing are basic
arpeggios with the root on the 4th and 3rd strings, so I have highlighted those notes in
red. So once you learn how to play the arpeggios in the key of A major, you could
just move everything up 2 frets and play in the key of B major.
|------|------|--2---|------|--3---|--4---|------|------|-1st
|------|------|--6---|------|--7---|--1---|------|------|
|------|------|--3---|--4---|------|--5---|------|------|
|------|------|------|--1---|------|--2---|------|------|-4th
| | | |
3rd fret 5th fret 7th fret 9th fret
Now play the corresponding arpeggios starting on each of the 5 notes.
|------|------|------|------|------|------|------|------|-1st
|------|------|------|------|------|------|------|------|
|------|------|-IIIm-|--IV--|------|--V---|------|------|
|------|------|------|--I---|------|--IIm-|------|------|-4th
| | | |
Arpeggios built from the first 5 notes of an A major scale

(the numbers indicate the fingering)
|---|---|---|---| -1st string

|---|---|---|-4-|
|-1-|---|---|-4-|
I |---|-2-|---|---| -4th string
|
5th fret
|---|---|---|---| -1st string

|---|---|-3-|---|
|---|---|-3-|---|
IIm |-1-|---|---|-4-| -4th string
|
7th fret
|---|---|-3-|---| -1st string

|---|---|-3-|---|
|-1-|---|---|-4-|
IIIm |---|---|---|---| -4th string
|
4th fret
|---|---|---|-4-| -1st string

|-1-|---|---|-4-|
|---|-2-|---|---|
IV |---|---|---|---| -4th string
|
5th fret
|---|---|---|-4-| -1st string

|-1-|---|---|-4-|
|---|-2-|---|---|
V |---|---|---|---| -4th string
|
7th fret
Those 5 arpeggios are the easiest to visualize in relationship to the basic major scale.
But in addition to these 5, we want to learn where all of the possibilities are within 4
frets of that A on the 4th string. A major scale consists of half steps (1 fret) and whole
steps (2 frets), and those half steps fall between the 3rd and 4th degrees of the scale,
and the 7th and 8th (or 7 going back to 1). So with this knowledge you can find where
the other possibilities are in relationship to the 5 that we already have.
|---|---|-3-|---| -1st string The IIm chord is 2 frets lower than the
|---|---|-3-|---|
IIIm chord on the 3rd string. So you
|-1-|---|---|-4-|
|---|---|---|---| -4th string can also play the Bm arpeggio with the
| root on the 3rd string at the 2nd fret.
2nd fret
|---|---|---|---| -1st string The IIIm chord is 2 frets higher than

|---|---|-3-|---| the IIm chord on the 4th string.
|---|---|-3-|---|
|-1-|---|---|-4-| -4th string
|
9th fret
|---|---|-3-|---| -1st string The VIm chord is 2 frets higher than

|---|---|-3-|---| the V chord on the 3rd string.
|-1-|---|---|-4-|
|---|---|---|---| -4th string
|
7th fret
|---|---|---|---| -1st string The VIIo chord would be 1 fret lower

|---|---|-3-|---| than the I chord on the 4th string.
|---|-2-|---|---|
|-1-|---|---|-4-| -4th string
|
4th fret
|---|---|---|---| -1st string The VIm chord is 2 frets lower than

|---|---|-3-|---| the VIIo chord on the 4th string.
|---|---|-3-|---|
|-1-|---|---|-4-| -4th string
|
2nd fret
This now gives you all of the chord functions in relationship the I chord with the root
on the 4th string.
|------|------|------|------|------|------|------|------|-1st
|------|------|------|------|------|------|------|------|
|-IIm--|------|-IIIm-|--IV--|------|--V---|------|-VIm--|
|-VIm--|------|-VIIo-|--I---|------|--IIm-|------|-IIIm-|-4th
| | | |
Basic arpeggios in the key of A
|---|---|---|---| -1st
|---|---|---|-4-|
|-1-|---|---|-4-|
I |---|-2-|---|---| -4th
|
5th fret
|---|---|---|---| -1st |---|---|-3-|---| -1st

|---|---|-3-|---| |---|---|-3-|---|
|---|---|-3-|---| |-1-|---|---|-4-|
IIm |-1-|---|---|-4-| -4th |---|---|---|---| -4th
| |
7th fret 2nd fret
|---|---|-3-|---| -1st |---|---|---|---| -1st

|---|---|-3-|---| |---|---|-3-|---|
|-1-|---|---|-4-| |---|---|-3-|---|
IIIm |---|---|---|---| -4th |-1-|---|---|-4-| -4th
| |
4th fret 9th fret
|---|---|---|-4-| -1st
|-1-|---|---|-4-|
|---|-2-|---|---|
IV |---|---|---|---| -4th
|
5th fret
|---|---|---|-4-| -1st
|-1-|---|---|-4-|
|---|-2-|---|---|
V |---|---|---|---| -4th
|
7th fret
|---|---|-3-|---| -1st |---|---|---|---| -1st

|---|---|-3-|---| |---|---|-3-|---|
|-1-|---|---|-4-| |---|---|-3-|---|
VI |---|---|---|---| -4th |-1-|---|---|-4-| -4th
| |
7th fret 2nd fret
|---|---|---|---| -1st
|---|---|-3-|---|
|---|-2-|---|---|
VIIo |-1-|---|---|-4-| -4th
|
4th fret
Here are a few of common chord progressions to test out your new found knowledge
on. Try and think generically about the chords. Meaning don't think about a
chord/arpeggio as C#m or Bm, think about it as IIIm and IIm
I IV V I
I VIm IIm V I
IIIm VIm IIm V I
The chords in a major key

A visual relationship
Chords in relationship the I chord on the 3rd string
Next we are going to take a look at how the chords would relate to each other if the I
chord was on the 3rd string. This time we will use the key of D. For this visual
relationship that you are learning, some keys work better in relationship to the I chord
being on the 4th string, and some work better relating to the 3rd string. It is just a
matter of trying to keep all of the arpeggios in the middle of the neck.
Below are the chords in the key of D.
D Em F#m G A Bm C#o
Here is a D major scale in the area if the D note on the 5th string. The D note is
highlighted in red.
|------|------|--6---|------|--7---|--1---|------|------|-1st
|------|------|--3---|--4---|------|--5---|------|------|
|------|------|--7---|--1---|------|--2---|------|------|
|------|--4---|------|--5---|------|--6---|------|------|-4th
| | | |
Here are all of the chords functions in the key of D, and how they relate to the I chord
with the root on the 3rd string.
|------|------|------|------|------|------|------|------|-1st
|------|------|------|------|------|------|------|------|
|-VIm--|------|-VIIo-|--I---|------|--IIm-|------|-IIIm-|
|-IIIm-|--IV--|------|--V---|------|--VIm-|------|-VIIo-|-4th
| | | |
Basic arpeggios in the key of D
|---|---|---|-4-| -1st
|-1-|---|---|-4-|
|---|-2-|---|---|
I |---|---|---|---| -4th
|
5th fret
|---|---|-3-|---| -1st
|---|---|-3-|---|
|-1-|---|---|-4-|
IIm |---|---|---|---| -4th
|
7th fret
|---|---|-3-|---| -1st |---|---|---|---| -1st

|---|---|-3-|---| |---|---|-3-|---|
|-1-|---|---|-4-| |---|---|-3-|---|
IIIm |---|---|---|---| -4th |-1-|---|---|-4-| -4th
| |
9th fret 2nd fret
|---|---|---|---| -1st
|---|---|---|-4-|
|-1-|---|---|-4-|
IV |---|-2-|---|---| -4th
|
3rd fret
|---|---|---|---| -1st
|---|---|---|-4-|
|-1-|---|---|-4-|
V |---|-2-|---|---| -4th
|
5th fret
|---|---|-3-|---| -1st |---|---|---|---| -1st

|---|---|-3-|---| |---|---|-3-|---|
|-1-|---|---|-4-| |---|---|-3-|---|
VI |---|---|---|---| -4th |-1-|---|---|-4-| -4th
| |
2nd fret 7th fret
|---|---|-3-|---| -1st |---|---|---|---| -1st

|---|-2-|---|---| |---|---|-3-|---|
|-1-|---|---|-4-| |---|-2-|---|---|
VIIo |---|---|---|---| -4th |-1-|---|---|-4-| -4th
| |
4th fret 9th fret
Here are the same few chord progressions that you used to test you skills with the key
of A. Now try them with the key of D.
I IV V I
I VIm IIm V I
IIIm VIm IIm V I
Other possible chords within the key
In the key of C the basic chords are C, Dm, Em, F, G, Am, Bdim. But those are
certainly not the only possibilities. While still staying within the limits of the C major
scale there are other chords that can be built from each degree of the scale. Below are
some of the possibilities. You can of course transpose these to any major key.

o
C Dm Em F G Am B
C5 D5 E5 F5 G5 A5 Bm7b5
C6 Dm6 Em7 F6 G6 Am7
C6/9 Dm6/9 Em7(11) F6/9 G6/9 Am7(9)
Cmaj7 Dm7 Esus4 Fmaj7 G7 Am7(11)
Cmaj7(9) Dm7(9) Fmaj7(9) G7(9) Am(add9)
Cmaj7(13) Dm7(11) Fmaj7(#11) G7(13) Asus2
C(add9) Dm(add9) Fmaj7(13) G(add9) Asus4
Csus2 Dsus2 F(add9) Gsus2
Csus4 Dsus4 Fsus2 Gsus4
Often a song that is in a major key will "borrow" chords built from other scales. So if
you are writing a song in a major key you are not limited to just the chords that are
built from the major scale. But the chords built from the scale will certainly be the
most important in creating the sound of a major key. Those extra chords that are not
built from the scale are just used as decorations, or chords to add a little more color to
the diatonic chords. We will look at some of these possibilities in other lessons.
Constructing Minor Scales for Bass Guitar
Minor scale basics
In the constructing major scales lesson, you learned that a major scale is just a series
of whole steps (2 frets) and half steps (1 fret). And if you take the natural notes from
C to C, this is a C major scale.
C major scale
If you take those same notes (C D E F G A B) and rearrange them to go from A to A,

you create a different pattern of whole steps and half steps. And if you take the natural
notes from A to A, this is an A minor scale. Specifically it is called an A natural
minor scale. There are a couple of other minor scales (harmonic minor, and melodic
minor), but what we are go to take a look at in this lesson is just the plain natural
minor scale.
A minor scale
So an A natural minor scale is just the same notes as a C major scale, only a minor
scale starts and ends on the 6th degree of the major scale.
C D E F G A B C - C major
1 2 3 4 5 6 7 1 2 3 4 5 6
A B C D E F G A - A minor
One idea that confuses a lot of people at first is the idea that a C major scale, and an A
minor scale have exactly the same notes. What makes the difference is how those
same notes are used. Those same 7 notes can sound very different depending on the
situation.
Natural minor on the neck of the bass
Here is a basic fingering for an A minor scale, and right next to that you will see what
the notes are in this particular fingering.
A Natural Minor Scale A Natural Minor Scale

with fingering with note names
On the bass guitar, scales are usually played by playing all of the notes within one
position of the neck. Technically an A minor scale would only run from an A to an A
note.
One Octave A minor scale

lower octave
But a lot of times when playing scales on the electric bass, you will want to play the
full range of notes in one position. That means that sometimes you will not be starting
and stopping the scale on the root. Though you should know where the roots are in
any particular scale fingering.
Major is minor, and minor is major
Here is a basic C major scale with the root C indicated in blue. To the right of that you
see the same scale fingering, only with A indicated in blue. As you have learned, a C
major scale and an A minor scale contain the same notes. That means that a basic C
major scale fingering, is in reality also a fingering for an A minor scale, if you are
thinking of A as the root of the scale. Though this fingering does not neatly go from A
to A, you are playing the full range of the notes in an A minor scale in that position.
C Major Scale A Minor Scale
This means that the basic A minor scale fingering, is also another position of a C
major scale, if you are thinking of C as that root of the scale instead of A.
A Minor Scale C Major Scale
So you now have a 2 position area of the neck that can either be considered all C
major, or all A minor. The trick is to know where all of the A and C notes are. These
will be your guides.
Two positions of either A minor or C major
There are a lot ways to play major and minor scales on the neck of the electric bass.
The previous scale positions are the most basic, and are the best ones to learn first.
Relative major, relative minor
The relationship between C major and A minor is relative. A is the relative minor of
C major, and C major is the relative major of A minor. Just think...relative...same
blood, same notes.
The 3 fret rule

If you are playing a major scale, and want to know what the relative minor scale
would be, go down 3 frets from the root of the scale. (down in sound)
If you are playing a minor scale and want to know what the relative major scale would
be, go up 3 frets from the root of the scale. (up in sound)
Down 3 frets = relative minor
Up 3 frets = relative major

Parallel minor
The relationship between C major and C minor is parallel. That means that both scales
share the same root. C minor is the parallel minor of C major. Comparing a C major
and C minor scale is a great way to see what is the same, and what is different
between the 2 scales.
All theory boils down to how notes relate to a major scale. The major scale is the
constant that is used to compare everything else. Each note in a major scale gets a
number. When you look at the comparison of C major and C minor below, you will
see that C minor has b3 (flat 3), b6, and b7 in comparison. What that means is that
those notes are the equivalent of 1 fret lower on the bass than the notes in the major
scale. So there are 4 notes that are the same, and 3 notes that are different.
C D E F G A B C - C major
1 2 3 4 5 6 7 1
C D Eb F G Ab Bb C - C minor
1 2 b3 4 5 b6 b7 1
Natural minor scale formula
These numbers are what is known as the "scale formula". The formula for a natural
minor scale is 1 2 b3 4 5 b6 b7.
Natural minor formula
1 2 b3 4 5 b6 b7
The Music Theory of Pentatonic Scales for Bass
Penta is the Greek root word for five. So a pentatonic scale consists of only 5 different
notes. While there are many possibilities for arranging 5 different notes to create a
scale, we are going to look at the 2 most common. They are major pentatonic, and
minor pentatonic.
In order to fully understand how pentatonic scales are constructed, you should have an
understanding of how to construct basic 7 note major and minor scales. Because
pentatonic scales are derived from them.
Prerequisite lessons:
Constructing major scales - this is the starting point for understanding all music theory.
Natural minor scales - Minor scale construction, and the relationship between major and
minor. Learn how the theory is applied to the neck of the bass.
Below is a basic review of major and minor scales, but you should also read the
theory lessons here at CyberfretBass.com that cover these topics in more detail.
Major scales
A major scale is just a pattern of whole steps and half steps (W W H W W W H). A C
major scale consists of the natural notes from C to C (no sharps or flats). Each note in
the scale is assigned a number from 1 to 7. These numbers are very important to your
understanding of music theory. As you are looking at different scales and arpeggios,
you will be using these numbers to help understand how they are constructed. The
major scale is the constant to which you will be comparing everything else to.
Basic major scale

functions indicated
|--2--|-----|--3--|--4--| -1st string

|--6--|-----|--7--|--1--|
|--3--|--4--|-----|--5--|
|-----|--1--|-----|--2--| -4th string
Minor scales
If you rearrange the notes of a C major scale to go from A to A instead of C to C, this

is an A minor or A natural minor scale. It has it's own pattern of whole steps and half
steps (W H W W H W W) So a C major scale and A minor scale consist of the same
notes, just in a different order. If you apply this pattern of whole steps and half steps
to the notes from C - C, you will have to flat the E, A and B notes. This is a C minor
scale. You can now see the difference between major and minor by comparing C
minor to the C major scale. Since E was the 3rd note in a C major scale, Eb now is
labeled with the function "b3"....(flat 3) . So the minor scale has a b3, b6, and b7 in
comparison to the major scale. These numbers are referred to as the formula for a
scale.
The formula for a natural minor scale is 1 2 b3 4 5 b6 b7
C D Eb F G Ab Bb C - C minor scale
1 2 b3 4 5 b6 b7 1 - scale functions
Basic minor scale fingering

functions indicated
|--2--|-b3--|-----|--4--|-----| -1st string

|-----|-b7--|-----|--1--|-----|
|-----|--4--|-----|--5--|-b6--|
|-----|--1--|-----|--2--|-b3--| -4th string
Major pentatonic scales
A major pentatonic scale comes from a major scale by removing the 4th and 7th
degrees. So a major pentatonic scale consists of only the 1 2 3 5 6 of the major scale.
Basic major scale

functions indicated
|--2--|-----|--3--|--4--| -1st string

|--6--|-----|--7--|--1--|
|--3--|--4--|-----|--5--|
|-----|--1--|-----|--2--| -4th string
It may seem funny, but the formula for a major pentatonic scale is 1 2 3 5 6. The G
may be the 4th note in a major pentatonic scale, but it is not considered a "4".
Remember that the numbers that you see in music are in relationship to the major
scale. And in a C major scale, G is the 5th note.
C D E G A C- C major scale
1 2 3 5 6 1 - scale functions
Basic major pentatonic scale

functions indicated
|--2--|-----|--3--|-----| -1st string

|--6--|-----|-----|--1--|
|--3--|-----|-----|--5--|
|-----|--1--|-----|--2--| -4th string
For a reference page with all major pentatonic scale forms click the button below.
5 positions of the C major pentatonic scale
|--6--|-----|-----|--1--| -1st |--1--|-----|-----|--4--| -1st

|--3--|-----|-----|--5--| |--1--|-----|-----|--4--|
|-----|--1--|-----|--2--| |-----|--1--|-----|--3--|
|-----|--5--|-----|--6--| -4th |-----|--1--|-----|--3--| -4th
| |
3rd fret 3rd fret
|--1--|-----|--2--|-----| -1st |--1--|-----|--3--|-----| -1st

|--5--|-----|--6--|-----| |--1--|-----|--3--|-----|
|--2--|-----|--3--|-----| |--1--|-----|--3--|-----|
|--6--|-----|-----|--1--| -4th |--1--|-----|-----|--4--| -4th
| |
5th fret 5th fret
|--2--|-----|--3--|-----| -1st |--1--|-----|--3--|-----| -1st

|--6--|-----|-----|--1--| |--1--|-----|-----|--4--|
|--3--|-----|-----|--5--| |--1--|-----|-----|--4--|
|-----|--1--|-----|--2--| -4th |-----|--2--|-----|--4--| -4th
| |
8th fret 8th fret
|--3--|-----|-----|--5--|-----| -1st |--1--|-----|-----|--4--|-----| -1st

|-----|--1--|-----|--2--|-----| |-----|--1--|-----|--3--|-----|
|-----|--5--|-----|--6--|-----| |-----|--1--|-----|--3--|-----|
|-----|--2--|-----|--3--|-----| -4th |-----|--1--|-----|--3--|-----| -4th
| |
10th fret 10th fret
|--5--|-----|--6--|-----| -1st |--1--|-----|--3--|-----| -1st

|--2--|-----|--3--|-----| |--1--|-----|--3--|-----|
|--6--|-----|-----|--1--| |--1--|-----|-----|--4--|
|--3--|-----|-----|--5--| -4th |--1--|-----|-----|--4--| -4th
| |
12th fret 12th fret
C major pentatonic (extended form 1)
scale functions
|-----|-----|--1--|-----|--2--|-----|--3--| -1st
|-----|-----|--5--|-----|--6--|-----|-----|
|--1--|-----|--2--|-----|--3--|-----|-----|
|--5--|-----|--6--|-----|-----|-----|-----| -4th
| |
3rd fret 9th fret
Suggested ascending fingering
|-----|-----|--1--|-----|--3--|-----|--3--| -1st
|-----|-----|--1--|-----|--3--|-----|-----|
|--1--|-----|--3--|-----|--3--|-----|-----|
|--1--|-----|--3--|-----|-----|-----|-----| -4th
| |
3rd fret 9th fret
Suggested descending fingering
|-----|-----|--1--|-----|--1--|-----|--3--| -1st
|-----|-----|--1--|-----|--3--|-----|-----|
|--1--|-----|--1--|-----|--3--|-----|-----|
|--1--|-----|--3--|-----|-----|-----|-----| -4th
| |
3rd fret 9th fret
C major pentatonic (extended form 2)

scale functions
|-----|-----|-----|-----|--5--|-----|--6--| -1st
|-----|-----|--1--|-----|--2--|-----|--3--|
|-----|-----|--5--|-----|--6--|-----|-----|
|--1--|-----|--2--|-----|--3--|-----|-----|-4th
| |
8th fret 14th fret
|-----|-----|-----|-----|--1--|-----|--3--| -1st
|-----|-----|--1--|-----|--3--|-----|--3--|
|-----|-----|--1--|-----|--3--|-----|-----|
|--1--|-----|--3--|-----|--3--|-----|-----| -4th
| |
8th fret 14th fret
|-----|-----|-----|-----|--1--|-----|--3--| -1st
|-----|-----|--1--|-----|--1--|-----|--3--|
|-----|-----|--1--|-----|--3--|-----|-----|
|--1--|-----|--1--|-----|--3--|-----|-----| -4th
| |
8th fret 14th fret
Minor pentatonic scales
Minor pentatonic scales can just be thought of as a minor scale, minus scale degrees 2
and b6. Therefore a minor pentatonic scale has the formula 1 b3 4 5 b7.
C D Eb F G Ab Bb C - C minor scale
1 2 b3 4 5 b6 b7 1 - scale functions
Basic minor scale

functions indicated
|--2--|-b3--|-----|--4--|-----| -1st string

|-----|-b7--|-----|--1--|-----|
|-----|--4--|-----|--5--|-b6--|
|-----|--1--|-----|--2--|-b3--| -4th string
C Eb F G Bb C - C minor pentatonic
1 b3 4 5 b7 1 - scale functions
Basic minor pentatonic scale

functions indicated
|-b3--|-----|--4--|-----| -1st string

|-b7--|-----|--1--|-----|
|--4--|-----|--5--|-----|
|--1--|-----|-----|-b3--| -4th string
5 positions of the A minor pentatonic scale
|--1--|-----|-----|-b3--| -1st |--1--|-----|-----|--4--| -1st

|--5--|-----|-----|-b7--| |--1--|-----|-----|--4--|
|-----|-b3--|-----|--4--| |-----|--1--|-----|--3--|
|-----|-b7--|-----|--1--| -4th |-----|--1--|-----|--3--| -4th
| |
3rd fret 3rd fret
|-b3--|-----|--4--|-----| -1st |--1--|-----|--3--|-----| -1st

|-b7--|-----|--1--|-----| |--1--|-----|--3--|-----|
|--4--|-----|--5--|-----| |--1--|-----|--3--|-----|
|--1--|-----|-----|-b3--| -4th |--1--|-----|-----|--4--| -4th
| |
5th fret 5th fret
|--4--|-----|--5--|-----| -1st |--1--|-----|--3--|-----| -1st

|--1--|-----|-----|-b3--| |--1--|-----|-----|--4--|
|--5--|-----|-----|-b7--| |--1--|-----|-----|--4--|
|-----|-b3--|-----|--4--| -4th |-----|--2--|-----|--4--| -4th
| |
8th fret 8th fret
|--5--|-----|-----|-b7--|-----| -1st |--1--|-----|-----|--4--|-----| -1st

|-----|-b3--|-----|--4--|-----| |-----|--1--|-----|--3--|-----|
|-----|-b7--|-----|--1--|-----| |-----|--1--|-----|--3--|-----|
|-----|--4--|-----|--5--|-----| -4th |-----|--1--|-----|--3--|-----| -4th
| |
10th fret 10th fret
|-b7--|-----|--1--|-----| -1st |--1--|-----|--3--|-----| -1st

|--4--|-----|--5--|-----| |--1--|-----|--3--|-----|
|--1--|-----|-----|-b3--| |--1--|-----|-----|--4--|
|--5--|-----|-----|-b7--| -4th |--1--|-----|-----|--4--| -4th
| |
12th fret 12th fret
A minor pentatonic (extended form 1)
scale functions
|-----|-----|-b3--|-----|--4--|-----|--5--| -1st
|-----|-----|-b7--|-----|--1--|-----|-----|
|-b3--|-----|--4--|-----|--5--|-----|-----|
|-b7--|-----|--1--|-----|-----|-----|-----| -4th
| |
3rd fret 9th fret
|-----|-----|--1--|-----|--3--|-----|--3--| -1st
|-----|-----|--1--|-----|--3--|-----|-----|
|--1--|-----|--3--|-----|--3--|-----|-----|
|--1--|-----|--3--|-----|-----|-----|-----| -4th
| |
3rd fret 9th fret
|-----|-----|--1--|-----|--1--|-----|--3--| -1st
|-----|-----|--1--|-----|--3--|-----|-----|
|--1--|-----|--1--|-----|--3--|-----|-----|
|--1--|-----|--3--|-----|-----|-----|-----| -4th
| |
3rd fret 9th fret
A minor pentatonic (extended form 2)

scale functions
|-----|-----|-----|-----|-b7--|-----|--1--| -1st
|-----|-----|-b3--|-----|--4--|-----|--5--|
|-----|-----|-b7--|-----|--1--|-----|-----|
|-b3--|-----|--4--|-----|--5--|-----|-----| -4th
| |
8th fret 14th fret
|-----|-----|-----|-----|--1--|-----|--3--| -1st
|-----|-----|--1--|-----|--3--|-----|--3--|
|-----|-----|--1--|-----|--3--|-----|-----|
|--1--|-----|--3--|-----|--3--|-----|-----| -4th
| |
8th fret 14th fret
|-----|-----|-----|-----|--1--|-----|--3--| -1st
|-----|-----|--1--|-----|--1--|-----|--3--|
|-----|-----|--1--|-----|--3--|-----|-----|
|--1--|-----|--1--|-----|--3--|-----|-----| -4th
| |
8th fret 14th fret
Relative major and minor
A C major pentatonic scale consists of the notes C D E G A C. An A minor pentatonic

scale is the same notes, just in a different order....A C D E G A. The relationship
between these 2 scales is called "relative". Just think....same blood....same notes. They
are relatives of each other. Whether you call these same notes a major pentatonic or
minor pentatonic just depends on how they are being used.
A is the relative minor of C major, and C is the relative major of A minor.
Below you will see a basic pentatonic scale form. First it is shown as an A minor
pentatonic scale with the root A represented in red. Then below that you see the same
scale form, but this time it is represented as a C major pentatonic with the root C in
blue.
Basic A minor pentatonic scale Basic A minor pentatonic scale

Note Names Scale Functions
|--C--|-----|--D--|-----| -1st |-b3--|-----|--4--|-----| -1st

|--G--|-----|--A--|-----| |-b7--|-----|--1--|-----|
|--D--|-----|--E--|-----| |--4--|-----|--5--|-----|
|--A--|-----|-----|--C--| -4th |--1--|-----|-----|-b3--| -6th
| |
5th fret 5th fret
Basic C major pentatonic scale Basic C major pentatonic scale

Note Names Scale Functions
|--C--|-----|--D--|-----| -1st |--1--|-----|--2--|-----| -1st

|--G--|-----|--A--|-----| |--5--|-----|--6--|-----|
|--D--|-----|--E--|-----| |--2--|-----|--3--|-----|
|--A--|-----|-----|--C--| -4th |--6--|-----|-----|--1--| -4th
| |
5th fret 5th fret
So as you learn to play various pentatonic scale forms, it is going to be important to

learn where the roots are within a particular form. And since the same fingering can
be thought of as major pentatonic, or minor pentatonic, there are 2 sets of roots to
learn for each scale fingering. One for major, and one for minor.
For a reference page with all pentatonic scale forms with the roots for both major and
minor highlighted, click the button below.
5 positions of C major, and A minor pentatonic
Red numbers are A, the root of the minor pentatonic

Blue numbers are C, the root of the major pentatonic
|--1--|-----|-----|--4--| -1st
|--1--|-----|-----|--4--|
|-----|--1--|-----|--3--|
|-----|--1--|-----|--3--| -4th
|
3rd fret
|--1--|-----|--3--|-----| -1st
|--1--|-----|--3--|-----|
|--1--|-----|--3--|-----|
|--1--|-----|-----|--4--| -4th
|
5th fret
|--1--|-----|--3--|-----| -1st
|--1--|-----|-----|--4--|
|--1--|-----|-----|--4--|
|-----|--2--|-----|--4--| -4th
|
8th fret
|--1--|-----|-----|--3--|-----| -1st
|-----|--1--|-----|--3--|-----|
|-----|--1--|-----|--3--|-----|
|-----|--1--|-----|--3--|-----| -4th
|
10th fret
|--1--|-----|--3--|-----| -1st
|--1--|-----|--3--|-----|
|--1--|-----|-----|--4--|
|--1--|-----|-----|--4--| -4th
|
12th fret
C major, and A minor pentatonic
extended form 1
|-----|-----|--1--|-----|--3--|-----|--3--| -1st
|-----|-----|--1--|-----|--3--|-----|-----|
|--1--|-----|--3--|-----|--3--|-----|-----|
|--1--|-----|--3--|-----|-----|-----|-----| -4th
| |
3rd fret 9th fret
|-----|-----|--1--|-----|--1--|-----|--3--| -1st
|-----|-----|--1--|-----|--3--|-----|-----|
|--1--|-----|--1--|-----|--3--|-----|-----|
|--1--|-----|--3--|-----|-----|-----|-----| -4th
| |
3rd fret 9th fret
C major, and A minor pentatonic

extended form 2
|-----|-----|-----|-----|--1--|-----|--3--| -1st
|-----|-----|--1--|-----|--3--|-----|--3--|
|-----|-----|--1--|-----|--3--|-----|-----|
|--1--|-----|--3--|-----|--3--|-----|-----| -4th
| |
8th fret 14th fret
|-----|-----|-----|-----|--1--|-----|--3--| -1st
|-----|-----|--1--|-----|--1--|-----|--3--|
|-----|-----|--1--|-----|--3--|-----|-----|
|--1--|-----|--1--|-----|--3--|-----|-----| -4th
| |
8th fret 14th fret
Music Theory for Bass - Modes 101
After learning about major and minor scales, then next piece of the music theory
puzzle is to learn about modes. The most common modes are derived from the major
scale. In fact, the minor scale itself can be thought of as a mode derived from the
major scale. So first we are going review the basics of major and minor scales, then
off to the modes.
The Major Scale

AKA Ionian Mode
The notes from C - C (no sharps, no flats) make up a C major scale.
C major scale - C D E F G A B C
Each note in a major scale is numbered from 1 to 7. This is going to be very important
as we dig deeper into modes.
C major scale - C D E F G A B C
1 2 3 4 5 6 7 1
Basic C Major Scale Form

Scale functions indicated
|--2--|-----|--3--|--4--| -1st string

|--6--|-----|--7--|--1--|
|--3--|--4--|-----|--5--|
|-----|--1--|-----|--2--| -4th string
|
8th fret
The Natural Minor Scale

AKA Aeolian Mode
If you take the notes from A to A (no sharps, no flats)....this is an A natural minor
scale.
A Natural Minor - A B C D E F G A
So an A minor scale is the 6th "mode" build from a C major scale. This idea is central
to understanding modes. The major and the minor scales also have "modal" names.
The major scale is also known as the Ionian mode, and the minor scale is also called
the Aeolian mode. It is just another name for the same scale. But using the "modal
name" usually indicates those same notes will be used in a little different way than
you might have used them in the context of playing in a major key or minor key.
C D E F G A B C - C major (Ionian Mode)

1 2 3 4 5 6 7 1 2 3 4 5 6
A B C D E F G A - A minor (Aeolian Mode)
If you compare A minor, to an A major scale, you can see that A minor has b3 (flat 3),
b6, and b7 in comparison. This just means that "b3" is a half step lower than the 3rd
note in the major scale.
A B C# D E F# G# A - A Major (Ionian Mode)

1 2 3 4 5 6 7 1
A B C D E F G A - A Minor (Aeolian Mode)

1 2 b3 4 5 b6 b7 1
These numbers make up the formula for the minor scale. The formula for a minor
scale is 1 2 b3 4 5 b6 b7. This is key to understanding modes. This is the way that you
are going to compare what is the same, and what is different between different modes.
Basic A Minor Scale Form

|--2--|-b3--|-----|--4--|-----| -1st string

|-----|-b7--|-----|--1--|-----|
|-----|--4--|-----|--5--|-b6--|
|-----|--1--|-----|--2--|-b3--| -4th string
|
5th fret
A Minor Scale
This is the same as the "basic C major scale form" on the

previous page. But this time the functions are written to reflect
these notes in relationship to A minor.
|--4--|-----|--5--|-b6--| -1st string

|--1--|-----|--2--|-b3--|
|--5--|-b6--|-----|-b7--|
|-----|-b3--|-----|--4--| -4th string
|
8th fret
Relative Modes
There are 7 different notes in a major scale. Therefore you could arrange those 7 notes
in 7 different ways. So in addition to Major (Ionian) and Natural Minor (Aeolian),
there are 5 other modes.
Here are all of the relative modes derived from a C major scale. Relative means that
all of these modes contain the same notes. Those notes are just in a different order,
and will be used in different ways in a modal context. The numbers underneath the
note names are the degrees of the scale in relationship to the notes in a C major scale
(the parent scale of all of these modes ).
Relative Modes of C Major
C D E F G A B C - C Ionian Mode (Major)

1 2 3 4 5 6 7 1
D E F G A B C D - D Dorian Mode
2 3 4 5 6 7 1 2
E F G A B C D E - E Phrygian Mode
3 4 5 6 7 1 2 3
F G A B C D E F - F Lydian Mode
4 5 6 7 1 2 3 4
G A B C D E F G - G Mixolydian Mode
5 6 7 1 2 3 4 5
A B C D E F G A - A Aeolian Mode (Minor)

6 7 1 2 3 4 5 6
B C D E F G A B - B Locrian Mode
7 1 2 3 4 5 6 7
Parallel Modes
In order to understand what makes each mode different from one another, here is a list
of the all of the modes with the root as C. A parallel mode just refers to a different
mode with the same root. The numbers under the note names represent how these
notes compare to a C major scale. So if you see "b3" this means that the note is a half
step lower than the 3rd degree in a C major scale.
Memorize the formula for each mode. This will be very important. Learn the a Dorian
modes is 1 2 b3 4 5 6 b7.
Parallel Modes with a root of C

C D E F G A B C - C Ionian Mode
1 2 3 4 5 6 7 1
C D Eb F G A Bb C - C Dorian Mode
1 2 b3 4 5 6 b7 1
C Db Eb F G Ab Bb C - C Phrygian Mode
1 b2 b3 4 5 b6 b7 1
C D E F# G A B C - C Lydian Mode
1 2 3 #4 5 6 7 1
C D E F G A Bb C - C Mixolydian Mode
1 2 3 4 5 6 b7 1
C D Eb F G Ab Bb C - C Aeolian Mode
1 2 b3 4 5 b6 b7 1
C Db Eb F Gb Ab Bb C - C Locrian Mode
1 b2 b3 4 b5 b6 b7 1
Modes and chord scales
Modes can be used in a couple of different ways. Either as the tonal center for a song
or section of a song, or as a scale that can be used over a specific chord.
You can build a chord from each degree of the major scale, and you can build a mode
from each degree of the major scale. Therefore each chord will have a corresponding
mode associated with it.
Below is a chart the 7 modes and the basic triads and 7th chords associated with them.
Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian
C Dm Em F G Am Bdim
I IIm IIIm IV V VIm VIIdim
Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7b5

Imaj7 IIm7 IIIm7 IVmaj7 V7 VIm7 VIIm7b5
Now I know that you are thinking.......if all of these modes contain the same notes,
why would I want to think of a different scale for every chord?
Say you have this chord progression that you are going to improvise over.
C Am Dm G
You could look at this chord progression, see that all of the chords come from a C
major scale, and just improvise with that scale. That is key area thinking. All of those
chords are in one key, so you would just blanket all of them with one scale. The
advantage of this type of thinking is that it doesn't require much thought. You can
instinctively search for melodies in that scale. The disadvantage is that you are not
considering how the notes in the scale sound in relationship to each individual chord.
Another way that you could think about improvising over this chord progression is to
think about how the notes in the C major scale relate to the notes of each chord. This
is also going to be very important in creating bass lines
Below are the 4 modes for the C Am Dm G chord progression.

1 2 3 4 5 6 7 1
|_____|_____| = C
C = C Ionian (Major)
|--2--|-----|--3--|--4--| -1st string

|--6--|-----|--7--|--1--|
|--3--|--4--|-----|--5--|
|-----|--1--|-----|--2--| -4th string
|
8th fret
* The notes in red are the notes of the chord within the scale
form...the arpeggio.
A B C D E F G A - A Aeolian Mode (Minor)
1 2 b3 4 5 b6 b7 1
|_____|_____| = Am
Am = A Aeolian
|--4--|-----|--5--|-b6--| -1st string

|--1--|-----|--2--|-b3--|
|--5--|-b6--|-----|-b7--|
|-----|-b3--|-----|--4--| -4th string
|
8th fret
D E F G A B C D - D Dorian Mode
1 2 b3 4 5 6 b7 1
|_____|_____| = Dm
Dm = D Dorian
|--1--|-----|--2--|-b3--| -1st string

|--5--|-----|--6--|-b7--|
|--2--|-b3--|-----|--4--|
|-----|-b7--|-----|--1--| -4th string
|
8th fret
G A B C D E F G - G Mixolydian Mode
1 2 3 4 5 6 b7 1
|_____|_____| = G
G = G Mixolydian
|--5--|-----|--6--|-b7--| -1st string

|--2--|-----|--3--|--4--|
|--6--|-b7--|-----|--1--|
|-----|--4--|-----|--5--| -4th string
|
8th fret
It definitely takes more work to learn the neck of the bass on this level, but if you take
the time to work out these ideas, your improvisations and bass lines will be much
stronger. You just need to work on one piece of the puzzle at a time.
Major and Minor Modes
The rest of this lesson will focus on how modes are used as key centers. A lot of jazz
and rock tunes are based on these modes, rather that traditional major and minor keys.
Modes can be broken down into major type modes, and minor type modes. It depends
on what chord is built from the 1st degree of the scale.
C major chord = C E G ( 1 3 5)....so any mode that has this as the 1st chord, is a major
type mode.
C minor chord = C Eb G (1 b3 5).....any mode with this as the 1st chord is a minor
type mode.
The Locrian mode does not have a major or minor chord as the 1st chord, therefore it
is not used in most modal contexts. It is used as a chord scale, it is just that you will
not find a song written in the Locrian mode very often. The chord that is built on the
1st degree of the scale is diminished. And a diminished chord does not make a very
stable home base chord. So minus the Locrian mode this gives us 3 major modes, and
3 minor modes.
Major Modes

1 2 3 4 5 6 7 1
C D E F# G A B C - C Lydian Mode
1 2 3 #4 5 6 7 1
C D E F G A Bb C - C Mixolydian Mode
1 2 3 4 5 6 b7 1
Minor Modes
C D Eb F G Ab Bb C - C Aeolian Mode (Natural Minor)

1 2 b3 4 5 b6 b7 1
C D Eb F G A Bb C - C Dorian Mode
1 2 b3 4 5 6 b7 1
C Db Eb F G Ab Bb C - C Phrygian Mode
1 b2 b3 4 5 b6 b7 1
Characteristic notes
Each mode has a note within the scale that makes it different from the other modes in
its category (major or minor) This is called the characteristic note. You are going to
compare the major modes to the major scale, and the minor modes to the natural
minor scale.
Major Mode Characteristic notes

Ionian - 4
Lydian - #4
Mixolydian - b7
When comparing the Lydian mode to the major scale, it is the #4 that make it unique.
When comparing Mixolydian to the major scale, it is the b7 that make it unique. Often
if you are using the Ionian mode, you are really working with a major key. But if you
were dealing with Ionian in a strict modal context, the characteristic note is 4. The
difference between something being in a major key and being in the Ionian mode can
be a little fuzzy. This will be looked at in more detail in another lesson. But for now it
is really the Lydian and Mixolydian that you want to concern yourself with.
Minor Mode Characteristic notes
Aeolian - b6
Dorian - 6
Phrygian - b2
When comparing Dorian to the Aeolian mode (natural minor), it the natural 6 that
makes it unique. The Phrygian mode has b2 that makes it unique. The characteristic
note of the Aeolian mode is b6. Often when you are writing a song in a minor key,
you are using a combination of the notes and chords from 2 different scales, the
natural minor, and the harmonic minor. Therefore what makes the Aeolian mode
different from a song that might be written in a minor key is that it will only use the
notes and chords build from the mode. It will not borrow from the harmonic minor
scale. This will be looked at in more detail in another lesson
Establishing the sound of a mode
Writing something in a mode has less to do with chord progressions, than it does with
just establishing a color, a mood....a mode.
In order to establish the sound of a mode you will need to.
a) Emphasis the root of the scale, make that note feel like home.
b) Emphasis the characteristic note, this is the note that gives a particular mode it's
flavor.
c) Emphasis the 3rd degree of the scale, this will give the mode it's major or minor
quality.
Modal harmony is not usually as active as harmony in a standard major or minor key.
In the simplest sense you just play a few chord that give the color of that mode. This
means the root chord, and the chords that contain the characteristic note. Other
chords can be used, but the main thing is not to make your chord progression sound
like any other mode. Since all of the relative modes contain the same notes and
chords, you need to be very careful about this. If you stray to far from the root chord
and the characteristic chord, you may get sucked into the sound of another mode.
Modes and chord use
Here are the basic chords in the key of C major (you will not use diminished chords or
dominant 7th chords in a modal context. These chords will drag your ear back into
the parent major key and away from the modal sound.
C Dm Em F G Am
So not only are these chords in the Key of C major, but they are the chords used in all
of the relative modes of C major. In just depends on how they are used that will
determine what mode you are in.
Here are the relative modes of C major with the tonic chord, and the characteristic
chords of that mode.
C Ionian - a difficult mode to make sound like a mode.

D Dorian - Dm (Em, G)....characteristic note is B(6)
E Phrygian - Em (Dm, F)....characteristic note is F(b2)
F Lydian - F (Em, G)....characteristic note is B(#4)
G Mixolydian - G (F, Dm)....characteristic note is F(b7)
A Aeolian - Am (Dm, F)....characteristic note is F(b6)
Here is what those chord would be with all of the modes build from the root of C.
C Ionian - a difficult mode to make sound like a mode.

C Dorian - Cm (Dm, F)....characteristic note is A(6)
C Phrygian - Cm (Bbm, Db)....characteristic note is Db(b2)
C Lydian - C (Bm, D)....characteristic note is F#(#4)
C Mixolydian - C (Bb, Gm)....characteristic note is Bb(b7)
C Aeolian - Cm (Fm, Ab)....characteristic note is Ab(b6)
In some upcoming lessons we will explore each mode in a little more depth. Keep in
mind that depending on your background in music so far, parts of this lesson might
note be as clear as you would like. Sometimes you have to have a little understanding
of a lot of topics before you can fully understand any of them. So come back to this
lesson at a later time. And at that time you will understand more....and maybe more
the next time.
Basic modal scale forms
There are a lot of ways to play the different modes. But as a starting point here are the
most basic forms of each mode. The root of the scale is indicated in red. Both a
suggested fingering version, and a scale function version are given for each.
Ionian
|--1--|-----|--3--|--4--| |--2--|-----|--3--|--4--|
|--1--|-----|--3--|--4--| |--6--|-----|--7--|--1--|
|--1--|--2--|-----|--4--| |--3--|--4--|-----|--5--|
|-----|--2--|-----|--4--| |-----|--1--|-----|--2--|
Dorian
|--1--|--2--|-----|--4--|-----| |--2--|-b3--|-----|--4--|-----|
|--1--|--2--|-----|--4--|-----| |--6--|-b7--|-----|--1--|-----|
|-----|--1--|-----|--3--|-----| |-----|--4--|-----|--5--|-----|
|-----|--1--|-----|--3--|--4--| |-----|--1--|-----|--2--|-b3--|
Phrygian
|--1--|-----|--3--|-----| |-b3--|-----|--4--|-----|
|--1--|-----|--3--|--4--| |-b7--|-----|--1--|-b2--|
|--1--|-----|--3--|--4--| |--4--|-----|--5--|-b6--|
|--1--|--2--|-----|--4--| |--1--|-b2--|-----|-b3--|
Lydian
|--1--|-----|--3--|-----| |--2--|-----|--3--|-----|
|--1--|-----|--3--|--4--| |--6--|-----|--7--|--1--|
|--1--|-----|--3--|--4--| |--3--|-----|-#4--|--5--|
|-----|--2--|-----|--4--| |-----|--1--|-----|--2--|
Mixolydian
|--1--|-----|--3--|--4--| |--2--|-----|--3--|--4--|
|--1--|--2--|-----|--4--| |--6--|-b7--|-----|--1--|
|--1--|--2--|-----|--4--| |--3--|--4--|-----|--5--|
|-----|--2--|-----|--4--| |-----|--1--|-----|--2--|
Aeolian
|--1--|--2--|-----|--4--|-----| |--2--|-b3--|-----|--4--|-----|
|-----|--1--|-----|--3--|-----| |-----|-b7--|-----|--1--|-----|
|-----|--1--|-----|--3--|--4--| |-----|--4--|-----|--5--|-b6--|
|-----|--1--|-----|--3--|--4--| |-----|--1--|-----|--2--|-b3--|
Locrian
|--1--|-----|--3--|--4--| |-b3--|-----|--4--|-b5--|
|--1--|-----|--3--|--4--| |-b7--|-----|--1--|-b2--|
|--1--|--2--|-----|--4--| |--4--|-b5--|-----|-b6--|
|--1--|--2--|-----|--4--| |--1--|-b2--|-----|-b3--|

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Constructing Major Scales for Bass Guitar

Below is an important tidbit of information before we get started.

All natural notes (A B C D E F G) are a whole step (2 frets) apart, except

Building chords from the major scale

How the chords function in the key

The harmonization (creation of chords or harmony) of a major scale will always

Chord functions in all major keys

Basic chords and functions in all of the major keys

Below is a table of all of the Diatonic Chords in the Major Keys

A Bm C#m D E F#m G#o

E F#m G#m A B C#m D#o

B C#m D#m E F# G#m A#o

F# G#m A#m B C# D#m E#o

I IIm IIIm IV V VIm VIIo

Gb Abm Bbm Cb Db Ebm Fo

Applying the theory to the bass

Here you are playing every other note in the scale

Basic Major & Minor Arpeggios for Electric Bass

Basic Major Arpeggios

= the root note

Root on the 4th string

Root on the 3rd string

Basic Major Arpeggios

Root on the 4th string

Basic Minor Arpeggios

Root on the 4th string

Root on the 3rd string

Basic Minor Arpeggios

Root on the 4th string

Root on the 3rd string

|--1--|-----|-----|-----| - 1st string

Suggested Fingering Chord Functions

Suggested Fingering Chord Functions

Suggested Fingering Chord Functions

Suggested Fingering Chord Functions

Suggested Fingering Chord Functions

Suggested Fingering Chord Functions

Suggested Fingering Chord Functions

|-----|--1--|-----|-----|-----| - 1st string

Suggested Fingering Chord Functions

Suggested Fingering Chord Functions

|-----|-----|--2--|-----|-----| |-----|-----|- 3--|-----|-----|

Suggested Fingering Chord Functions

|--1--|-----|-----|--4--| |--1--|-----|-----|- 3--|

Suggested Fingering Chord Functions

Suggested Fingering Chord Functions

Suggested Fingering Chord Functions

Suggested Fingering Chord Functions

|--1--|-----|-----|-----| - 1st string

Suggested Fingering Chord Functions

Suggested Fingering Chord Functions

Suggested Fingering Chord Functions

Suggested Fingering Chord Functions

Suggested Fingering Chord Functions

sus4 Arpeggios for Bass

|--1--|-----|-----|-----| - 1st string

Suggested Fingering Chord Functions

Suggested Fingering Chord Functions

Suggested Fingering Chord Functions

Suggested Fingering Chord Functions

* You can also use your 3rd finger in place of

Suggested Fingering Chord Functions

|-----|--1--|-----|-----|-----| - 1st string

The Symetrical Chord