FRETBOARD ALCHEMY

for
&
BASS
By Scott Hubbell
SECTION I
INTRODUCTION
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 derivedfromaroot 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. Theinterval structures are written numerically at the top of each page underneath the shown scale. Fromthe 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
LYDIAN
MIXOLYDIAN
AEOLIAN
IONIAN
LOCRIAN
Thefirst chapter is on extended fingerings. By using this type of fingering, you gain more range in one position: 1 octave
and a fifthon 4 string, 2 octaves on 5 string, and 2 octaves and a fourth on 6 string. Thecool thing is, if you knowthe
standard fingerings: 2nd finger on the root note, you are half-way there already, as the standard fingeringis 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
The5 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. Thereis a time and a place for that, but nowis
not that time or place. I also recommend that you sing (gasp!) the intervals as you play them. It is great ear-training.
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 amassuming that you knowat least some theory. If not, I
recommend that you finda good instructor to teach you. Look for someone that knows functional harmony and
can improvise. Avoidthose that just teach technique or licks, that will get you nowhere. I havefoundthat the best
instructors are horn players or piano players. They might not be able to showyou howto 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 haveat 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.
Thechord diagrams on the scale pages are basic open chords that usually havethe 5th omitted. Some of
voicings also havethe root omitted. Thoughbassists aren't called on much to play chords, if you can play them,
it will giveyou a deeper understanding of the harmony and help you in your own writing process.
By the end of the book, you should knowall of the scales and modes presented and should be practicing them
in everykey. 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 havingto think about it. Running scales over changes is not
truly improvising. Thegoal is to be able to improvisefreely, with the scales being used as a reference, not a rule.
Chromatic approach notes, passing tones and taste play a huge part in improvisinga smooth line. That is where the ear-
training comes in. ThoughI can showyou the framework for improvising....scales, arpeggios and chords, what comes
out of your soul/heart viayour instrument is up to you. Thepatterns are here to better equip yourself with the tools
needed to be a roundedmusician. Themore 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 fretboarddiagrams are in standard tuning. EADG for 4 string, BEADG for 5 string, and BEADGC for
6 string. If you use a high Con 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
The Major scale and related modes
Recognize this?
IONIAN
DORIAN
PHRYGIAN
LYDIAN
MIXOLYDIAN
AEOLIAN
IONIAN
LOCRIAN
The interval relationships of the Major scale are as 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 2,3,4,5,6,7,1
Phrygian 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
in relation to the Major scale 4,5,6,7,1,2,3
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
in relation to the Major scale 6,7,1,2,3,4,5
Locrian 1,b2,b3,4,b5,b6,b7
in relation to the Major scale 7,1,2,3,4,5,6
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
1
1
1
1
1
1
2
2
2
2
2
3
3
4
4
4
4
4
4
5 6 7 8 9 10 11 12
1
1
13
1
1
1
14
2
2
3
3
15
3
16
4
4
4
4
4
17 18 19
I have included both a fretboard diagramand 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 read music, the fretboard is needed to showyou 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 Gphrygian over a G7, this works because I knowthe intervals of the scale, and the
tensions available for the 7 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:
IMaj7
GMaj7
ii-7
Am7
iii-7
Bm7
IVMaj7
CMaj7
V7
D7
vi-7
Em7
vii-7b5
F#m7b5
The top letters describe the type of chord being played. GMaj7 means a Gmajor 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 refered to 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 often throughout this book. If you knowthe chord and its function, then you will knowwhat 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 improvised line 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.
IONIAN / MAJOR
1 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 24 1
Cmaj7
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.
DORIAN
1 2 b3 4 5 6 b7
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
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
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.
PHRYGIAN
1 b2 b3 4 5 b6 b7
Am7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
Em7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
Em7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
Phrygian is the 3rd mode of the Major scale. It is minor in tonality. This scale is quite common in rock tunes and would
be the iii in a iii-VI7-ii-V7-I progression. The b2 is a touchy note, and unless the chord uses it as a b9, it should be avoided.
The arpeggio is a minor 7th. Extentions are b9 (sometimes), 11 and b13.
LYDIAN
1 2 3 #4 5 6 7
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
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
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.
MIXOLYDIAN
1 2 3 4 5 6 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
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
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
AEOLIAN / NATURAL MINOR
1 2 b3 4 5 b6 b7
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
Am7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
Am7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
Aeolian is the 6th mode of the Major scale and is commonly called the Natural Minor scale. Its tonality is naturally, minor. The
conditional avoid note is the b6th, but most people can get by using it as a passing tone. You will see this scale and chord in some
I-vi-ii-V7 progressions and also iii-vi-ii-V7 progressions. It is also seen as the 1 chord in minor progressions. Its arpeggio is
minor, and the extentions are 9, 11 and b13.
LOCRIAN
1 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
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
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.