OK i just downloaded the "bass cheat sheet" and now I'm really confused. The thing that confuses me are the scale patterns. I have searched and searched and read and read, but I'm still very very confused. I don't understand how to use that to switch scales. I read one site that said with those patterns you could play any scale. How in the world does that work. Any clear answers or websites with answers would be great. I really don't understand how that is supposed to work. Thanks in advance.:confused:

First you take the scales off the bass and then you cook it. :)

I found the bass cheat sheet here: http://www.musicianforums.com/forums/showthread.php?p=14326316

Basically the R is the chord you are playing and the X's mark the rest of the notes that fall into that scale. If your guitar friend straps a capo and raises the key of the song from C to D, you mentally move the R from C to D on your fretboard.

Here's a music theory for bass page that didn't look too bad:
http://www.cyberfretbass.com/theory/index.php

First you take the scales off the bass and then you cook it. :)

I found the bass cheat sheet here: http://www.musicianforums.com/forums/showthread.php?p=14326316

Basically the R is the chord you are playing and the X's mark the rest of the notes that fall into that scale. If your guitar friend straps a capo and raises the key of the song from C to D, you mentally move the R from C to D on your fretboard.

Here's a music theory for bass page that didn't look too bad:
http://www.cyberfretbass.com/theory/index.php


thanks...good place to start....or in my case revisit.

OK i just downloaded the "bass cheat sheet" and now I'm really confused. The thing that confuses me are the scale patterns. I have searched and searched and read and read, but I'm still very very confused. I don't understand how to use that to switch scales. I read one site that said with those patterns you could play any scale. How in the world does that work. Any clear answers or websites with answers would be great. I really don't understand how that is supposed to work. Thanks in advance.:confused:

I would forget about the 'bass cheat sheet' for the moment... it's a little confusing

in my opinion, what you need to do first of all is learn the sound of the various scales and modes, and the patterns they form underneath your fingers, over just one octave... in one position (i.e. without moving your hand)

the first stage of that is to learn the major and natural minor scale, and then use that knowledge to relate every mode or other scale... i.e. learn that Dorian mode is like natural minor but with a major 6th, learn that Lydian mode is like major but with a raised 4th etc...

the reason for keeping it really simple right now is this: your learning should be grounded in recognizing the SOUND of the various scales, otherwise what are we doing it for? The trouble with memorizing patterns and having 'cheat sheets' that tell you where your fingers go is that learners come to think that music's all about learning patterns... and you DO have to learn some patterns, but without that going hand in hand with hearing what's going on, you don't have musicianship, you have 'finger wiggling'

so, keep it simple, scales over 1 octave at first

the first thing to learn about scales and modes is how to use them in a diatonic chord sequence... i.e. a chord sequence that uses chords that are entirely made up of notes from the key signature... e.g. in the key of C major, the following would be a diatonic chord sequence:

Cmaj7 - Dm7 - Fmaj7 - G7

all the notes in these chords are within the key of C, so when looking for suitable notes to play over those chords, your starting point (emphasis on starting point.. all these rules can be broken) ought to be the notes within the arpeggio, and then the other notes within the key... the 'diatonic' notes in other words

now, over the Cmaj7 chord, these notes would be:

C D E F G A B

over the Dm7 chord, the notes would be

D E F G A B C

over the Fmaj7 chord, they would be:

F G A B C D E

see the connection? they're the same notes over each chord... you would just emphasise different ones.. when the chord changes, the relative importance of different notes changes, but the 'pool' of notes you pick from remains the same 7: A,B,C,D,E,F & G

so, finally we get to patterns and the relationship of scales/modes... each diatonic chord has a corresponding diatonic mode associated with it... you'll be familar with chords in a major scale being referred to as: I,ii,iii,IV,V,vii etc... well each of those chords has a mode associated with it, and they all contain the same notes:

I - Ionian mode (major scale)
ii - Dorian mode
iii - Phrygian mode
IV - Lydian
V - Mixolydian
vii - Aeolian
vii(b5) - Locrian

the really really basic application of this, is that for a diatonic chord sequence, you work out what function the chord has (i.e. whether it's a ii chord or a V chord etc) and you choose your notes from the appropriate mode... so for the chord sequence above, the appropriate modes would be:

Cmaj7 - C Ionian (C major)
Dm7 - D Dorian
Fmaj7 - F Lydian
G7 - G Mixolydian

all those modes have the same notes, but start on the root of the chord

now... big caveat... music that's made up solely of diatonic notes usually sounds like white bread & mashed potatoes... a little boring... but these 'rules' are just a guideline

and you need to also be aware that within any 'scale over a chord' situation, there are notes that are more important that others, especially if you're a bass player... you need to ensure your job gets done, whichis to outline the harmonic changes... so remember remember remember, arpeggios are more important to a bass player than scales...