Table of Contents Explanation of Musical Notation . Part i Turnarounds And Tonal Centers Ex.1 IIVIProgression ing. x2 Ascending Turnarounds (in @) Ex.3 Descending Tumarounds(inF) . Ex4 Short Turnarounds ING. .....0 Ex.5_ Descending Chromatle Progression . x8” Ascending Chromatle Progression Ex7 Exercise ingi4 Time... : ExB8 Tiplot Exercise in F...- Ex9 Progression inF....... Ex. 10 Progression In Ab Ex 11 Progression in Bhand eb. Ex 12 Progression In Eband G Ex 13 Progression in G, Bpand Eb. Ex 14 Progression In D, Eb, Fand Gb. Ex 15 Progression in. Ex 16 Descending Passing Minor. Ex 17 Short Dominant Cyclo .......2. Part Il: Minor Scales And Altered Chords Mejorand Minor ... Ex 18. Chord Extension snd Alteration Bitonallty es... Ex 1 Moledie Minor Ex.20 Progression In hm and Abe Ex.21 Progression In F.G or Gm,and F - Ex.22 Progression In Gand Gn Ex.23 Pragression In G,Gmand Am... Ex.24 Progression in D,8,E andFam’.. Ex.25 Progression In Om : Flat Five Substituia.. &x.28 Sire . Part I Whole Tone, Diminished And Pontatonie Scales ‘whole Tone Scale .27.. 5.28 529.01, @ Diminished Seale x.90 91 B32 Ex. 33 Pentatonie (major Ses Ex.34 Pentatonie imino Se Introduction to Appendix . ‘Appendix ‘Scales staring with the 1st finger ‘Scales starting with the 2nd finger ‘Scales atarting with the 4th finger .. Harmonized Seales Fingerboard Charts8 On EXPLANATION OF -MUSICAL NOTATION 4. Chord symbol Sig 2. indicates tonal canter ae 3. Key signature 4. Finger number 5. An astorisk over a note indicates that the note Is not in the tonality. It will ‘need an alternate fingering. \ . 6. Stringnumbor 7. Une indicates that sorte of notes are tobe playod.on the same sting. 8 Accidental g 7 ie aares ees $ a ey Note: A tonal center Is the key or scale that relates to the chord or chord pro: _ GRssion. It fs not necesshrly the same as'the key signature indicated at the © Beginning of the line. : e 9, Indicates the use of bitonallty The solo tonal center Is not th ‘the ~~{ofial center that relates to the chord or chord progression. It includes both ebininjon (F, 3, b7 etc) toned and altered (b5, #11,48, B19, 8, #3) tones to _sfeate a speciiicaltered sound. eae “edits Boe TaExercise #1 & IlV1PROGRESSION ING“Exercise #2 a ASCENDING TURNAROUNDS (IN G) ) ‘The following examples are all closely related to the it V Ill VI progres Ideas employed in these examples are developed from the li Y motives I Exercise One.{| Exercise #3 = an RNAROUNDS ((N F) tthe fortowing examples are all closely related to the I VLILV progression. The The following en tnete examples are developed 1/2 Ine iV motives found In Exercise One.Exercise #4 SHORT TURNAROUNDS IN G ‘The following examples demonstrate short turnarounds, The VI minor chord has been altered to Vi dominant, In short turnarounds, where the chord changes are only two beats apiece, It Is easier to alter the individual chord than It Is tochange ‘netonailty,Exercise #5. DESCENDING CHROMATIC P 1% ROGRESSIONExercise #6 Ee ASCENDING UCM RC PROGRESSION 4 7 cmt Fi €Exercise #7 EXERCISE IN 3/4 TIME ZO bm? Bet oe; a $4 -¢ 4+ Fre atic SSS Se a ii, Abell cmt Ft Bim * rete cree : any east 3 pe FF + £ ——-—— === Dm? a cm) soe Put 3 Gerace | aE st eee —= —— = SSS ol ee24 Exercise #8 TRIPLET EXERCISE IN F 24Exercise #9 I PROGRESSION IN c Exercise #10 PROGRESSIONIN AP LS aes e . 2 1 4 = 4 — = = ae ee 2SExercise #11 f PROGRESSION IN Bb AND E> 2 Exercise #12 PROGRESSION IN Eb ANDGExercise #13 PROGRESSION IN G, B> ANDE? ‘The eltered turnaround Is sometimes used to replace the LVIILV turnaround. |_® pee (foe 5 SS ————— ee o—— 9 ® “@ © 6a: oO o— EbmajT ‘Abmaj7-5 Gmaj? 4 ‘ oe y : ‘ = i ; eee See oe = SSS SSS Exercise #14 PROGRESSION IN D, E>, FAND G? Ent at O-= a Oe =A ae ieee Bp eerie at = =p oe] = — aa ee GmT ct Abm7 ‘DbT Oa SOS ee £ the pp pp SS == o- eo 6 °.Exercise #16 ' DESCENDING PASSING MINOR oD (pmtmai) (om) 7 SSS \ cm) (Cmimaj) (cm) (F7) $6 ee eS o %—G (yeatural mine a eee SS r Ss Ganarmonte i008) oe aq iamtone mon) een giparael Malor)Exercise #18 E MAJOR & RELATIVE MINOR ‘Thb major and its relative minor share the samo,key signature; ¢, the relative minor of G major. The following example demonstr ‘smoothly you can play from the major into tha relative minor. E minor le 6 how Fin7-5 Br 4 Onur sieie Sree ae 2a\ NATURAL MINOR ° G minor's the relative minor of Bb major G minor fe the parallel minor to G major (eee page 40). E minor Is the relative minor of major. 5 1G major. E minor Is the parallel minor to E Femn7-5 © sarencmros SS sa HARMONIC MINOR The weak V minor chord found in the natural minor \s changed to V dominant Changing the third of tne V chord vals the Th degree of tha minor scala—this is thenarmonie minor scale, ) 24 Amt-3 p18 RERTONC HNO o— _ 0 Gm(maj7) cmt ®. @. © & @ & @ ® Fimt-§ : pre , TARMONTEMTOR —y = ay fy 6 _—_$—— S e. ® ° Em(maj?) Bbmaj745 Ebmaj? - | @rxmoremnar 5 - s 2 ‘ 1 4 1 SOON, a fiveMELODIC MINOR : Unlike the traattonal definition, the modern application Unliteine ascending fetm (cased 6th ane 7th degrees ©! ustending anddescanding lines. r of the melodie minor i tho scale) for both ant“) 4) Gimajoris ine paraliel major to G minor (see page 40), E majors the parallel major to Eminer, = | ml 2a PARALLEL MAJOR cna? cmatamr : * CHORD EXTENSION A chord is extended by adding additional intervals of a third (major oF ming) to a acneeid abavethe seventh. Forexample, 0” can be extended to bovome pio! ord” > pi pa Dit DIS CHORD ALTERATION ‘The dominant seventh chord {V chord) s hemost common andessiy dered To ao corr nant crore, rao or lower the {ith andlor the ninth of tne Cores For arample, DT ean be altered to become Di” OF 10’+5 or it can be altered and SHS ee pacar DU DIED Dee Dae Drersorp7 ete pigu1Dnetl BIS Drow big a be # eeOf i) ~~ BITONALITY Btonally [¢ the simullanaous use of ts ‘iferent tonallles: When Using Diloraily, the golotonal canter snot the sameas the tonal cehferthat relates 10 the enor or eherd progression. The solo tonal centr Includes both common 3, b7 etc.) tones'and altered (5, #11, #5, b13, b9, #9) tones to create a specific altered sound. ‘The melodic minor becomes most versatile when It is used bitonaly. There are fourusageso! ine meledie minor, invge are biora. The tree bitonal usages limelosieminos(e.9, @.Malor and (Gm) melodieminon IV melodic minor (@.9., (O) Major and (Gm melodic minor) Vimeleae lao eg @ Major ard (Gmn] molec mine) You can control any particular altered dominant sound you want simply by selecting ine proper melodie minor. Use { melodie minortora#5 sound melodic minor for abS or#11 sound 1 melodic minor for ab9 or #9 Sound Vi melodic minor for ab5 or #5 and/or b@ or #9 sound. The following illustratés the tour dominant chords - 07, G’, A” ang FY” ~ inatcanbs Used winalah msiedie river Dt @ recom —— 8 =e _ a re 5 b13) br R 9 3 fon ct (6 escere555¢@ ——— $$$ c ; n = & —— 5 13 on R 9 3 al (b8) a == — $< $$ — te ae, v ‘The following illustrates a 0” chord and the four melodte minors {da}, (Grm) anaEbm) - thet can doused against 2 Ceaietie R 3 5 bn 8 uo Reisman real 2 = SSS \ Tenuate nw ® ° 3 Sather kee — | eae ai = == =e | 5 aaaeere R ° 3 at os), ee 3 = ————— wt x ~be - " 5 13 os) (vases ie as bo be he bv <= bs peoaeb Ht R ~@ @ Gi 68) Amt pus 1 Qimaoeunon 1 2 eeecrt Feat 1 >) MELODICRINOR Dt 1 Cohaecomremnor 2s c18 Fmajt 1 Bh) coo TERR DI 1 recone mer it cr 1 Cte receoremOrExercise #20 z PROGRESSION IN Bbm and Abm ‘ OG Doe | lme(may?) | RECSDE RRR al 3 4, Bhm9(maj7) TELOOCHINOR 1 be 3 Abmo(onaj7) ELODIE WOR39 9G e hm o(aaj7) Coley: Abm9(maj7) @rcsarasor Bbm9(maj7) RECOOTE ROR ap Ostet bm 9(maj7) @ fensinary PaEe LT 2 = LT / Exercise #21 (5a 2 PROGRESSION IN F, G or Gm, and F Am?-5 Go aaaneNeaNOT ot (Cn) rcooremner 1 ee a eae eng urea ==(econ Orage ; ©. Exercise #24 x PROGRESSION IN D, B, E and Fifm 4 i oan Fa eae ob eee eae tite teExercise #25 PROGRESSION IN Dm © Dmm(mai7) RONCHI Signo neue (4 copaor er ® o—______ 5. Ren(may7) 1 2 we Co0Ie NOT ow gee ee ——_, SSS ‘Sah brag | SR ey (es) ec RR (neooemnar ae vt eS Fanible as an ea ae a 2 he 1 need 3 iz aExercise #26 ound" of ‘This exercise shows the different ways that you can approach the the flat five substitute (see page 57) Examples 1 and2 demonstrata an unalteredill VIII V progression. Bast zt ® Examples 3and 4use the Vimelodic minor agalnst the dominant chords. | er : 1l ors + — 4 2 0 ga Dy { 1 Onecare seep Ss o——___ een eets (and 6 demonsirate tho substitute, The dominant chords and thetr respective tonallties have been m: }ovad the distance of a flaited fifth, The parents SU f2ters to a change In the progression, nat lv the sv eit an. individual -nord. The llmstodle minor Is used against the domisactesscay, hacer ©. Abr 71) eceoremreorIn examples 7 and 8, Il chords are placed In front of the new dominant chords. This more timmy estapisnes the new tonalite jaez areas S35 Ty : eS ae ——Examples 19 and 14 demonstrate the substitute. The dominant chords and their caspectiva tonalities have been moved the distance of a flatted fifth. Tha It melodic minor Is usad against the dominant chords. / ch 1 @ macosreminor EF 1 ese ee fi 1 (come ; 4 2 2 1In examples 15 and 16, I! chorde aro pl chords. This more flimly establlst 18 ed in front of the new dominant 8 thenew tonalities.A ‘7 WHOLE TONE SCALE The whole toh scale Is constructed trom two augmented chords a whole step apart. There are only two forms of the whole tone scale, Any note In the scale Gan be the root Form@ its the following cnoras: Am Bm Gim Ebm Fm Gm ote? abt abl. oF os Form@) fits the following chords: Om Em Fim Abm Bbm Cm Ot As 8 DPC amebl somey . 4 To play a whole tone scale against a minor chord, start on the fifth of the minor chord, Am $ = b = 2 BE 42 fz 5 6 tn Uy bs " ‘To play a whole tone scale against a dominant chord, start on A, 3, 57, 9, +11 of +Softhe dominant chord. Da $2Exercise #27 450 —— ee °. ° | i ebt Abmaj? f 1 ae Hy # Hace ee |= ee SS SS} 1 ® 0 @ ii | : \ Fr(maj?) Bhm(maj7) t 1 )anascevore +) (C+) nce Tone tee heExercise #28 Fria? Seer eeari i ; pba urrag ates ee 1 ie ——— ors Gn (© econo 1@- She ys a ras Pies jescl oats rarer eke o ° eo 2 2 © °. °. Fait ® ‘ 5 AER Os - 1 ‘ fala fiealega = Oates oie : zal : = © © e————3 © o—— 0 © gt, : om (G+) praceront ae a 1©)— Pega eee i su ae = it © °. ® °. Exercise #29 Gmaj? Abgatt/> eget | © oem + aes eee a SED Ua ees °° ° © mal Abtai/o st 1 (© )wmacetore 1O- yaks Ip ot ot 2g sao Way Seino mea ney5) piminisHep scate ‘The diminished scale is constaucied trom two diminished, seventh chords a Tihs step apart. There are only three forme of the diminished seale, Any noteln the frst ehord canbe the reot ; =. by eee st ———— —= ee = = : eee = —* = = Form@ fits the following cds. ; Am Gm Eb Fim ’ o” Fr Abr Bt Form@ {tse following ods: -. Din Fm Abm “Bm a?‘ eb? of oe? Form@ fits the following chord: Gm ebm Grn (fees een To playa diminished scale against a mins’ shord, start on R,b3, bS or 6of the minor chord =r = % R 9 bs W bs bi 6 a (8) ‘To alay a diminished scale against a ceninant chord, start on 3, 5, brorbs othe cominant chord. sete = — s 13 br R - 3 ait (9) (65), “avold using a diminished scale egainet any dominant 7+5 or dominant 7-13 chord form.| Exercise #800 53 pt ro (¢*)ypamszee Pmt or (rooms =amt © )ommareo o—____. »_________ ® a 1 Coleco @. o © o 2.EbTT 8 1 Cees {a 1 (0) ego mnor 1G ere Sr (05 ie TWELOOIC MINOR 71 eH eeExercise #33 Ss 56 PENTATONIC (MAJOR) SCALE Gpentatontc major, Modem usage often includes the addition of b3.Exercise #34 PENTATONIC (MINOR) SCALE ‘AMajor (with b3, b6 and b7 "blue notes” added) = i bs bs bn Anatural minor (Includes b3 and b7 “blue notes"; bS added) =e se = add: bs ‘A pentatonic minor (includes b3 and b7 “blue notes"; b5 added) E ba) Eze 4a d ' % Ce a 6¢ INTRODUCTION TO APPENDIX Major Scale Fingerings 1. The seales are arranged in the cycle of fourths. The fourth cycle Is the ‘atural progression In music. It Is also a quick way to learn the key signatures. 2, ‘There are three different ways to finger a major scale on the electric bass. You can start with your 1st, 2nd ordth finger. 3, The three fingerings can te linked together. The fingering starting with the 4st fingerends with the 2nd finger 2nd finger ends with the 4th finger 4th fingerends with the 1st finger. By connecting the three fingerings In this manner, you can avold ‘unnecessary shifis In the middle of aline 4, Optional fingerings are also Included. These are generally applied when using major triad forms, to avold the clumsy fingerings that sometimes occur. The examples in this book are fingered in different ways to demonstrate hhéw these threo fingerings are used. See If you can recognize the different fingerings. The tonality and the chord symbols will help to give you clues, Romember, there Is usually more than one way to finger amusical phrase, i Harmonized Scales Thore are four chord shart included: Major Harmonized Scales Natural Minor Harmonized Scales Harmonic Minor Harmonized Scales Melodic Minor Harmonized Scales Each chord chart illustrates the Roman numerals In all 12 keys. Notice that the seventh of the chord has been added to the basic trad, Fingerboard Charts ‘The bass tingerboard chan Is a handy reference showing the location of all the notes on the bass inthe bass clef, Abass guitar fingerboard chart Is also Included. The bass guitar Is @ close relative of the electric bass. A versatile electric bassist should be ablo to read both clets, since music for the bass guitar Is written In the treble clef, and arrangers still cometimes expect you to road abass guitar chart. orSoe STARTING WITH THE 2nd FINGER EGC olla lSSCALES STARTING WITH THE 4th FINGERAbMat Auer Bhnt oot pint rit = mts b b Ma 2 ate BE : = 4 aE Dbftat Ebm7 Fmt GhMaT AgT hm? cnt-5, Le yb bg. . b ra SE zi ohmat Abe? ‘bm chat ph ebm? ps ‘, ree sb. pbs bb. bee oH Bok Mat cimt Dnt ema a stmt 2a f =i —s EMa? Fm? Gin? AMaT BT cfm? Dimi-S + f- 6 ee amar pnt tm past Pa Pa eeonns centsPy 69 7 NATURAL MINOR 0 m, m7 v1 v1. vn vat cmay? Dat Ema? Fma\7 or Breit "1Gaie§ fei Dbrait()etmt. gos ved “aGhmalp a b ib, scl bea. iz i Ey tt i Chmay? bm?4 () HARMONIC MINOR psn ea ne ore a eke ee * Es 2} —— fF — Coe eee ee chant b: aby = Ss a mime) Ami-S Bhat) Cm ot by iE LA = Cmtmajf) Dees ebmasi() Fo a Abra}? Balm? aS iy Le ye fi = bot Tan om Abnastes) Bim? a pbmay? Eft? Qs ce by ie oe. 2 a = HS = pintmal) Cmts Dhmait.s) hn? fn chmayt Att b b. ® ‘Ebm(mej7) ee Gbmaj7l5) Abm7 BhT Chmajt ‘Daim te be : dy 2= —<—— + S Sad Bae Dears vet wheat mn t Wb ere rtp bby — ep — (a ae ee Sees fiat ee a ch Bnet ean 6 4h et het ‘Bm{maj7) Chm7-5 ‘pmaj7{+5) EmT Fa Gmaj? Aedim? em{may) F2m7-5 Gagne) Amt m coat? péaint af iE A= =1 amima)?) @ Dmn(mast) 7 7 -— MELODIC MINOR | | m ma wt vi emt 799) DT E emt Fraji(+5) OT at vit rint-> vq Gentes cents | Fm¢nay) Bben(mna)7) @® mi abmayt(s) Bh a cnt Diaj7(s5) Bb ih bs 5 eS aoe bro garss | by by 4 b %E = a 4 i | ooo ee nee Gum estates mrs Gnt-5 eEmt-3 Amt-5 le Emin), rat Glas) att BR cnt-s Dots bie. 4 . hi yh: | | eee & i HE | Abm{mai?) abn? Chmajt(.5)—_ DAT eh Frot-§ Gni-s @ \, . 2 | See a E 5 | Canina din? mali) FA Gh pints emis | Sarai ete ae og oa cent ame e eh — th 2 a ag 2 oneoii ot ane ne eras> BASSGUITARIFING .. SOARD CHART Strings +t vi Strings @ ® ® @ ® @ AD _G__Som Sting * a ph gh Ak re aod oq a — oT" te 4 1 i, aeren == = = == - ee eo eto ef = ae ‘ | w PS j 7 po] of __c|_, snr & a oh ee Sa = a FT i i JL de = Ee : : Lee od a tee emtew cc : == = cea a i ! i ee oats =a SES aS i 1 i eae A A Be St nase dg | saree = —s == sae Feet \ I. ta . Se . = { i t othe aay jae dee es