module 1 major scale modes

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FRETBOARD ALCHEMYfor

&

BASSBy Scott Hubbell


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SECTION IINTRODUCTION

Welcome to the wonderful world of intervals. Almost everything you play on the bass is made up of intervals.

Without getting too technical, an interval is the distance between two notes. This book will focus on helping

you understand scalar and chordal intervals. Note that the terms scale and mode mean the same thing and can

be interchanged. With that being said, it is time for a little terminology:

1. A mode is a scale derived froma root scale, i.e., a Dorian scale is the 2nd mode of the Major (Ionian) scale.

2. Every interval (remember, the distance between two notes) of the Major (Ionian) scale starts a newmode.

3. Since there are 7 notes in the Major scale, there are 7 modes.

4. The interval structures are written numerically at the top of each page underneath the shown scale. From the root they are:

1 half step = minor 2nd (b2)

2 half steps = major 2nd (2)

3 half steps = minor 3rd (b3) or augmented 2nd (#2)

4 half steps = major 3rd (3) or diminished 4th (b4)

5 half steps = perfect 4th (4) If you play these intervals in order, you will be

6 half steps = augmented 4th (#4) or diminished 5th (b5) playing the chromatic scale.

7 half steps = perfect 5th (5)

8 half steps = minor 6th (b6)9 half steps = major 6th (6) or diminished 7th (bb7)

10 half steps = minor 7th (b7)

11 half steps = major 7th (7)

12 half steps = octave or perfect unison

By knowing your interval numbers, you should be able to play any scale/mode.

This is the Major scale and it's related modes:

IONIAN

PHRYGIAN

DORIAN

LYDIANMIXOLYDIAN

AEOLIAN

IONIAN

LOCRIAN

The first chapter is on extended fingerings. By using this type of fingering, you gain more range in one position: 1 octave

and a fifth on 4 string, 2 octaves on 5 string, and 2 octaves and a fourth on 6 string. The cool thing is, if you know the

standard fingerings: 2nd finger on the root note, you are half-way there already, as the standard fingering is the 2nd half

of the extended fingerings.

This is the relationship between extended fingerings and standard fingerings:

1 2 3 4 5 6 7 8 9 10 11 12 filled cicle = standard fingerings

The 5 string is shown so you can see a full octave of each fingering.

Make sure that when you practice these scales go slow and alternate your finger or pick strokes. Do not

rake (drag) your fingers/pick across the strings when descending. There is a time and a place for that, but now is

not that time or place. I also recommend that you sing (gasp!) the intervals as you play them. It is great ear-training.


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After practicing these scales for awhile, you should be able to sing them without your bass in hand.

Most of what is presented here is pretty basic, and I am assuming that you know at least some theory. If not, I

recommend that you find a good instructor to teach you. Look for someone that knows functional harmony and

can improvise. Avoid those that just teach technique or licks, that will get you nowhere. I have found that the best

instructors are horn players or piano players. They might not be able to show you how to do that fancy slap tuplet,

but when it comes to academic music instruction, they are usually the best. Speaking of piano, I highly endorse

sitting at the keyboard and banging out the scales and chords. Again, this is great ear-training. Almost all of the

great improvisors have at least some basic keyboard knowledge, and if you get good enough at it, you can double on

keys or keyboard bass (shh! don't tell anyone I said that!) and increase your income.The chord diagrams on the scale pages are basic open chords that usually have the 5th omitted. Some of

voicings also havethe root omitted. Though bassists aren't called on much to play chords, if you can play them,

it will give you a deeper understanding of the harmony and help you in your own writing process.

By the end of the book, you should know all of the scales and modes presented and should be practicing them

in every key. Using them in a musical situation is going to be different than practicing them in your room. You should

be able to incorporate them into your playing without having to think about it. Running scales over changes is not

truly improvising. The goal is to be able to improvise freely, with the scales being used as a reference, not a rule.

Chromatic approach notes, passing tones and taste play a huge part in improvising a smooth line. That is where the ear-

training comes in. Though I can show you the framework for improvising....scales, arpeggios and chords, what comes

out of your soul/heart via your instrument is up to you. The patterns are here to better equip yourself with the tools

needed to be a rounded musician. The more you understand your instrument and the music you are playing, the

better you will become. Again, a competant instructor will help you reach your goals faster than any method book,

video, CD-ROM....etc. Big ears, thorough musical knowledge, and professionalism will make you an "in demand"bassist, and where I come from, that is a good thing.

All of the fretboard diagrams are in standard tuning. EADG for 4 string, BEADG for 5 string, and BEADGC for

6 string. If you use a high C on the 5 string, the patterns will still work, or if you use any other type of tuning that

is in 4ths, the patterns will work. As these are all "movable" patterns, I will expect you to be praticing them in ALL

keys.

Copyright 2002


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The Major scale and related modes

Recognize this?

IONIAN

DORIAN

PHRYGIANLYDIAN

MIXOLYDIANAEOLIAN

IONIAN

LOCRIAN

The interval relationships of the Major scale areas follows:

Ionian 1,2,3,4,5,6,7

in relation to the Major scale 1,2,3,4,5,6,7

Dorian 1,2,b3,4,5,6,b7

in relation to the Major scale 2,3,4,5,6,7,1Phrygian 1,b2,b3,4,5,b6,b7 BOLD = Modality

in relation to the Major scale 3,4,5,6,7,1,2 REGULAR = Tonality

Lydian 1,2,3,#4,5,6,7


Mixolydian 1,2,3,4,5,6,b7

in relation to the Major scale 5,6,7,1,2,3,4,

Aeolian 1,2,b3,4,5,b6,b7


Locrian 1,b2,b3,4,b5,b6,b7


If you are not used to using extended fingerings, make sure that you take it easy as your hand will cramp, especially

if you are using a 5 or 6 string or a long scale plus (35" or longer) bass. For the lower positions, my suggestion is to

use fingers 1, 2, and 4 for whole-step intervals up to the 12th fret. Then, you can use whatever is comfortable after that.

ex: 5 STRING

11

1

111

2

2222

3

3

4

44444

5 6 7 8 9 10 11 12

11

13

111

14

2233

15

3

16

44444

17 18 19

I have included both a fretboarddiagram and notation. For those of you who can't read music, you should be able to relate the note

with its placement on the fretboard. For those who can readmusic, the fretboard is neededto show you the correct fingering. There

is a brief description of the type of scale at the bottom of each page. It is just a reference, not a rule. Many modes can function over

more than one chord, for instance, I like to use a G phrygian over a G7, this works because I know the intervals of the scale, and the

tensions available for the7 chord. After you learn the basics, and have your ears in shape, you can pretty much use any scale over

any chord, if you resolve themcorrectly.

Every primary scale has its specific modes. Every mode has a related 7th chord. Those relations and the musical short-hand used

to describe them are presented below:


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IMaj7GMaj7

ii-7Am7

iii-7Bm7

IVMaj7CMaj7

V7D7

vi-7Em7

vii-7b5F#m7b5

The top letters describe the type of chord being played. GMaj7 means a G major 7th chord is being played. The bottom

Roman numerals are used to describe the function of the chord. I means that it is the 1 chord of the progression. So a

ii-V-I means that it is a progression starting on a minor 7th (2 chord) going to a dominant 7th (5 chord) going to a major 7th(1 chord) using cycle root motion. This type of progression is referedto as a cadence and is extremely popular in the jazz

and fusion genre. It is also found all over in pop music. Make sure that you become very familiar with this progression.

I will be refering to it quite oftenthroughout this book. If you know the chord and its function, then you will know what scale

to play. Sometimes the written chord changes will include the extentions that the composer wants used in the music. For

example: CMaj7#11, means that a Lydian scale should be the starting point for the improvisedline and that the #11 should be

emphasized. It takes awhile to understand this short-hand, but once you do understand it, you can analyze a progression on

the fly and base (bass?) your improvisation appropriately.

The "avoid" notes I mention in the scale description, are to be avoided for resolution, however, they may be played as a passing

tone.


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IONIAN / MAJOR1 2 3 4 5 6 7

Fmaj7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Cmaj7

2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 241

ma

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

The Major scale or Ionian mode is the most widely recognized scale in Western music. Just like the name states, it is major

in its tonality, meaning that it has a major 3rd. The 4th interval is very dissonant (doesn't sound very good) and should be

considered an avoid note for all but the most advanced improvisors. Its chord is commonly used as a I chord in most styles of

music and is one way to tell the "key of the moment" in most ii-V7-I jazz progressions. The arpeggio is a Major 7th. Extentions

are 9 and 13. Improvisors sometimes raise the 4(#11) making it a Lydian scale.


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DORIAN12 b3 45 6b7

Gm7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Dm7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

m

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Dorian is the 2nd mode of the Major scale. It is minor in tonality (has a minor 3rd). There are no avoid notes to worry about.

The arpeggio is a minor 7. Dorian is typically the ii chord in a ii-V7-I progression and is commonly substituted as the i chord

in a minor ii-7b5-V7b9-i progression. It is also used extensively in modal and funk tunes. Extentions are 9, 11, and 13. The

6th interval should be used with care when involved in a ii-V-I progression, it doesn't sound bad per say, but it can negate the

dominant resolution of the V7 chord.


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LYDIAN123 #45 67

B maj7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Fmaj7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

ma

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Lydian is the 4th mode of the Major scale. It is major in tonality. It has no avoid notes. Matter of fact, the #4 can actually be

emphasized as it doesn't clash with any other note. The arpeggio is a major 7th, and the extentions are 9, #11 and 13. It is a

good substitution for the Major scale, even though it implies another key.


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MIXOLYDIAN123 456 b7

C7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

G7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Mixolydian is the 5th mode of the Major scale. It is dominant in tonality, meaning it wants to resolve up a 4th or down

a 5th to the I chord. This is the most common scale ( well, next to pentatonics, but that is a later chapter) and chord

in music today. I-IV-V type blues progressions are usually made up entirely of dominant chords, and its unstable nature

gives it great forward momentum. The 4th of the scale is dissonant and should be avoided. The arpeggio is a dominant 7th,

and the extentions are 9 and 13. Mixolydian is also the scale of choice for secondary dominants* resolving to the IV and

V7 chords.* a secondary dominant is a substituted dominant chord that resolves to a diatonic chord


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LOCRIAN1 b2 b3 4 b5 b6 b7

Em7 5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Bm7 5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

m

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Locrian is the 7th mode of the Major scale. It is minor in tonality. The b2 is a conditional avoid note. The locrian "chord" is

commonly found in minor progressions as the ii chord. The arpeggio is a minor 7b5 or half diminished. Extentions are b9,

11 and b13.

module 1 major scale modes

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