Hey there,
Alot of you may know me from around these forums, as I've been here for a really long time, and I've showed a few lessons on these forums (they're in the archive section now). I decided to show you guys a new exercise, that some of you may already know, but some will not!
Now before I post this, I apologize to my college because I kind of "borrowed" 100% of the 2 octave portion of this exercise from them, but I think that it can be a big helping hand for those who want to learn it!

As a note, this lesson will get very intensive, you probably won't want to do all of it in the same sitting.

Alright,

This exercise focuses on Scales and Modes, eventually in two octaves.

Let's start simple:
A scale is simply a series of 7 notes which ascend/descend in either whole tones or semi tones to create different tonalities, and for the sake of this exercise, we are starting with the Ionian (Major) scale.

Using C as our root, a standard major scale is as follows:

tone tone semitone tone tone tone semitone.
C D E F G A B C



That is the basic major scale!
There are several different ways you can play this scale with your left hand, allow me to tab a few out:
(These all start on the first C on your A string)

The most commonly used major scale box is starting on your second finger (middle finger)
G||----------------------|-------2----4----5----||
D||------------2----3----|--5-------------------||
A||--3----5--------------|----------------------||
E||----------------------|----------------------||


The second most used is starting on your fourth finger, but involves a shift:
G||----------------------|--0----2----4----5----||
D||-------0----2----3----|----------------------||
A||--3-------------------|----------------------||
E||----------------------|----------------------||

Keep in mind that I only used the open string because we're in 3rd position, if we were in 8th position it would look like this:


G||----------------------|------------------5----||
D||----------------------|--5----7----9----(10)--||
A||-------5----7----8----|-----------------------||
E||--8-------------------|-----------------------||


And one more way,


One of the least common, but still used (especially in college) is starting on your first finger (in Stretch position):
G||----------------------|------------4----5----||
D||-----------------3----|--5----7--------------||
A||--3----5----7---------|----------------------||
E||----------------------|----------------------||
(To hit the 5th fret, you use your second or third finger, and your fourth finger to hit the 7th fret, keeping your first finger anchored on the 3rd fret the entire time)



You can use these boxes and move your major scale to any part of the neck starting on your E and A strings (because these patterns are 3 string patterns, if you started on your D or G strings you would have to shift to continue the scale).

Now for modes.

Modes are simply defined as scales, nothing more, nothing less. What most musicians, if not all musicians, most commonly associate modes with is the "Modes of a major scale." (or of a natural minor, or harmonic minor, or melodic minor, or whatever)

If you've heard that, and have no idea what it means, allow me to simplify it as easily as I can for you.


A mode is when you start with a major scale, and then begin playing the scale on scale degrees other than the root.

(using the C scale as an example)
The first "mode" of the C major scale is playing the exact same scale you just played, but instead of starting on C, you will start on D and continue to D using all the notes of the C major scale.

To show this in tab form I have put C Major Scale first, and its first mode following:


G||----------------------|-------2----4----5----|----------------------|--2----4----5----7----||
D||------------2----3----|--5-------------------|-------2----3----5----|----------------------||
A||--3----5--------------|----------------------|--5-------------------|----------------------||
E||----------------------|----------------------|----------------------|----------------------||

Easy, Huh?
We call this the Dorian Mode. The only difference between the standard Dorian mode and what I tabbed out is the position in which you would normally play it.

I will now tab out and label all of the modes how I play them, not necessarily the ''right'' way.

I. Ionian (Major Scale)
G||----------------------|-------2----4----5----||
D||------------2----3----|--5-------------------||
A||--3----5--------------|----------------------||
E||----------------------|----------------------||

II. Dorian (Natural Minor Scale with a natural 6th)
G||----------------------|-------4----5----7----||
D||-----------------5----|--7-------------------||
A||--5----7----8---------|----------------------||
E||----------------------|----------------------||

III. Phrygian (Natural Minor Scale with a minor 2nd)
G||-----------------------|-------------7----9----||
D||------------------7----|--9----10--------------||
A||--7----8----10---------|-----------------------||
E||-----------------------|-----------------------||

IV. Lydian (Major Scale with a sharp 4th)
G||-----------------------|--------7----9----10----||
D||-------------7----9----|--10--------------------||
A||--8----10--------------|------------------------||
E||-----------------------|------------------------||

V. Mixolydian (Major Scale with a minor 7th)
G||-------------------------|--------9----10----12----||
D||--------------9----10----|--12---------------------||
A||--10----12---------------|-------------------------||
E||-------------------------|-------------------------||

VI. Aeolian (Natural Minor Scale)
G||--------------------------|--------------12----14----||
D||--------------------12----|--14----15----------------||
A||--12----14----15----------|--------------------------||
E||--------------------------|--------------------------||

VII. Locrian (Natural Minor Scale with Minor 2nd and Minor 5th)
G||--------------------------|--------------14----16----||
D||--------------------14----|--15----17----------------||
A||--14----15----17----------|--------------------------||
E||--------------------------|--------------------------||

And that brings us back to Ionian.

You can apply this pattern to every single note available on your bass! From A to A.
The only limit is how many frets you have!

Alright, now that we have covered the Major Scale and its Modes, let me move on to how you can apply this in two octaves.

Allow me to introduce you to a Tetrachord.
A Tetrachord is a 4 note pattern with a shift, allow me to tab out the 4 tetrachords we will be using.

*Note* I am including how you shift with each of these, the numbers after "Shift = #" are which fingers you use, and "--->" means the actual shift. The number which comes after "--->" is what finger you shift to, and you continue the pattern from there. *Note*

Major (Shift = 1 --> 1 3 4 3 1 ---> 1):
G||-------------------------------------||
D||-------------------------------------||
A||--3----5----7----8----7----5----3----||
E||-------------------------------------||


Minor (Shift = 1 ---> 1 2 4 2 1 ---> 1):
G||-------------------------------------||
D||-------------------------------------||
A||--3----5----6----8----6----5----3----||
E||-------------------------------------||

Phrygian (Shift= 1 2 ---> 2 4 2 ---> 2 1):
G||-------------------------------------||
D||-------------------------------------||
A||--3----4----6----8----6----4----3----||
E||-------------------------------------||

Lydian (Shift= 1 3 ---> 2 4 2 ---> 3 1):
G||-------------------------------------||
D||-------------------------------------||
A||--3----5----7----9----7----5----3----||
E||-------------------------------------||

What is the point of this? Why am I showing you these tetrachords? Well allow me to explain.
Every scale is made up of two tetrachords, which gives us our 8 notes of a scale (7 + the octave). When we were doing the box style of scales, we were using two tetrachords, but without shifting. Now, I will tab out a C major scale using two tetrachords, and label which ones I used.

C Ionian (TC = Maj, Maj)
G||-------------------------------------------||
D||----------------------5----7----9----10----||
A||--3----5----7----8-------------------------||
E||-------------------------------------------||
As you can see, on the A string we use one tetrachord, and on the D string we use another! We use a pair of Major tetrachords, and this makes our Major scale.

The last part of this lesson is all you, I am no longer tabbing anything out, it is for you to practice and figure out on your own, I'm simply giving you the tools to do so.
This is a chart of every combination of tetrachords crossing 4 strings in two octaves, shifting on different stings, over all the modes of the major scale.

If you figure out how I connected the two tetrachords in the last example, it will be easy for you to figure out this chart. If you could not figure that out, keep trying! It is essential for this part.

Here is the chart.
*Note 1* Where it says ---, you continue the scale without shifting, and shift on the next string. *Note 1*
*Note 2* If one of the lines has a * next to it, that means you will have to hit a note that isn't covered by one of the tetrachords, but you can figure that out on your own. *Note 2*

Ionian

E A D G
Maj Maj Min ---
Maj Maj --- Maj
Maj --- Maj Maj *
--- Lyd Maj Maj


Dorian

E A D G
Min Min Phry ---
Min Min --- Min
Min --- Min Min *
--- Maj Min Min

Phrygian

E A D G
Phry Phry Lyd --- *
Phry Phry --- Phry *
Phry --- Phry Phry
--- Min Phry Phry *

Lydian

E A D G
Lyd Maj Maj ---
Lyd Maj --- Maj
Lyd --- Lyd Maj
--- Phry Lyd Maj *

Mixolydian

E A D G
Maj Min Min ---
Maj Min --- Min
Maj --- Maj Min
--- Maj Maj Min

Aeolian

E A D G
Min Phry Phry --- *
Min Phry --- Phry
Min --- Min Phry
--- Min Min Phry *

Locrian

E A D G
Phry Lyd Maj --- *
Phry Lyd --- Lyd *
Phry --- Phry Lyd
--- Phry Phry Lyd *




Thank you for reading this wall of text, I really hope you got something out of it!!!
Again, thank you to my college for the Tetrachord Chart, it helped me immensely and I hope it helps those of you who use it!

Cheers, see you next time

- Al

Edit: There may be some errors in the Tetrachord chart, as far as *'s go, if anyone finds one, let me know and I'll check & change it

Excellent lesson. My only question is, is there a way you can do a printable version of this lesson, one I can print out and put on my music stand in my bedroom?

Highlight and copy all of the text into a word document and then print!

Highlight and copy all of the text into a word document and then print!

Just make sure to use a fixed-width font.

Good stuff, bro. I'm going to use that tetrachord stuff when I practice later today. They look like excellent shifting exercises.

Moved to General Instructions.

What would be a good fixed width font?

sorry for the dumb question

Great lesson.

What would be a good fixed width font?

sorry for the dumb question

Try Courier or Courier New.

Very good and valuable material. Thanks for sharing.
I just have a quick question. I usually use the "stretch" position for playing scales (playing the root with first finger and doing three notes per string). You mentioned something about keeping your first finger anchored in place. What is the importance of this? It seems to me like that would be almost a bit limiting.
Again, thanks for sharing your knowledge :)

Very good and valuable material. Thanks for sharing.
I just have a quick question. I usually use the "stretch" position for playing scales (playing the root with first finger and doing three notes per string). You mentioned something about keeping your first finger anchored in place. What is the importance of this? It seems to me like that would be almost a bit limiting.
Again, thanks for sharing your knowledge :)

Of course it's all depending on your hand size, but if you can avoid moving your first finger, it develops better muscle memory. If you aren't moving your first finger around, then you aren't losing your position if you look away - it's a reference. It's a good habit to get into if you're doing stretch :)

someone...please...sticky!

Interesting aproach with the tetrachord stuff, im gonna pracice this too, gr8 thx !

I like the stretch position. I was talking to someone in the Navy Band, a bassist and he said that they barely use the stretch. It is not wrong just different. He was giving me some pointers for the school and audition. This will really be useful as well seeing that it's probably what's going to be taught. Thanks!!

One of the least common, but still used (especially in college) is starting on your first finger (in Stretch position):
G||----------------------|------------4----5----||
D||-----------------3----|--5----7--------------||
A||--3----5----7---------|----------------------||
E||----------------------|----------------------||
(To hit the 5th fret, you use your second or third finger, and your fourth finger to hit the 7th fret, keeping your first finger anchored on the 3rd fret the entire time)

Least common? Cool. I didn't know that. This is the fingering shown in my "Bass for Beginners" book by Sharon Ray.

Great lesson too.

Thanks.

I loved the lesson! I have edited it and put it in a pdf format with some changes that made it easier. This will allow you to print it out (and makes it nicer).

Let me know what you think

Excellent, notalent. Thanks so much for setting it up as a PDF. It's printed and will soon be on my music stand.:D

I loved the lesson! I have edited it and put it in a pdf format with some changes that made it easier. This will allow you to print it out (and makes it nicer).

Let me know what you think



Nice!
That is appreciated a ton! It's quite astounding actually haha, it looks much much nicer then ''code'' everywhere haha. Great job notalent, thanks again :)

+1

i didn't understand anything about the tetra chord part :(
could some explain what "shift" is the op talking about? the shift in finger position or the shift in mode?

this thing:


A Tetrachord is a 4 note pattern with a shift, allow me to tab out the 4 tetrachords we will be using.

*Note* I am including how you shift with each of these, the numbers after "Shift = #" are which fingers you use, and "--->" means the actual shift. The number which comes after "--->" is what finger you shift to, and you continue the pattern from there. *Note* :confused:

no one? please?

So the fingers are 1 through 4
1=pointer
2=middle
3=ring
4=pinky

See here:
http://driskillfan.tripod.com/sitebuildercontent/sitebuilderpictures/left-hand-guitar-chord-finger-number-guide.jpg

For the major shift, he says:

Major (Shift = 1 --> 1 3 4 3 1 ---> 1):

So start with the pointer, then SHIFT it up to the next note, then play the next two notes with 3 and 4 (ring and pinky) then go back down, and shift back down to where you started.


Major (Shift = 1 --> 1 3 4 3 1 ---> 1):
A string tab 3 5 7 8 7 5 3

So the fingers are 1 through 4
1=pointer
2=middle
3=ring
4=pinky

See here:
http://driskillfan.tripod.com/sitebuildercontent/sitebuilderpictures/left-hand-guitar-chord-finger-number-guide.jpg

For the major shift, he says:

Major (Shift = 1 --> 1 3 4 3 1 ---> 1):

So start with the pointer, then SHIFT it up to the next note, then play the next two notes with 3 and 4 (ring and pinky) then go back down, and shift back down to where you started.


Major (Shift = 1 --> 1 3 4 3 1 ---> 1):
A string tab 3 5 7 8 7 5 3


Thanks again Notalent haha,
I was about to tab out something very similar, but you beat me to the punch :)

ok i get it now

I have been trying to understand the Tetra Chord charts at the end...but I just don´t get it....can anyone tell me what and how...please!!!

Thanks for this lesson...its something I have just started getting into so it has been a GREAT help....just a little bit of clarification on the last part...THANKS

kynoch--did you see the pdf I uploaded. It has an example at the end that might help.

Not a bad beginner exercise, few things that stuck out:


Let's start simple:
A scale is simply a series of 7 notes which ascend/descend in either whole tones or semi tones to create different tonalities, and for the sake of this exercise, we are starting with the Ionian (Major) scale.


Not all scales have 7 notes, also some have intervals beyond a whole tone between steps (like the harmonic minor and its modes)


if we were in 8th position it would look like this:


G||----------------------|------------------5----||
D||----------------------|--5----7----9----(10)--||
A||-------5----7----8----|-----------------------||
E||--8-------------------|-----------------------||



That would be 5th position (index on the 5th fret)



A mode is when you start with a major scale, and then begin playing the scale on scale degrees other than the root.



You don't have to use a major scale, for example modes of the harmonic and melodic minor are also commonly used


IV. Lydian (Major Scale with a sharp 4th)
G||-----------------------|--------7----9----10----||
D||-------------7----9----|--10--------------------||
A||--8----10--------------|------------------------||
E||-----------------------|------------------------||


VII. Locrian (Natural Minor Scale with Minor 2nd and Minor 5th)
G||--------------------------|--------------14----16----||
D||--------------------14----|--15----17----------------||
A||--14----15----17----------|--------------------------||
E||--------------------------|--------------------------||



No such thing as a #4 or b5. Perfect intervals cannot be sharp or flat, they are augmented or diminished.

Not a bad beginner exercise, few things that stuck out:



Not all scales have 7 notes, also some have intervals beyond a whole tone between steps (like the harmonic minor and its modes)



That would be 5th position (index on the 5th fret)




You don't have to use a major scale, for example modes of the harmonic and melodic minor are also commonly used



No such thing as a #4 or b5. Perfect intervals cannot be sharp or flat, they are augmented or diminished.

To address the concerns:
That's very true that not all scales have 7 notes; whole tone scales, altered, etc. This was just for the purpose of this exercise.

My bad on the 5th position haha

For the initial understanding of modes, you definitely would not want to start with the harmonic and melodic minor modes; that is why this is not covered in this lesson.

The augmented and diminished of perfect intervals is very true, but that's in theory. In practice, I have seen many more charts with 'b5' written in versus 'half diminished.' When I first learned modes, I approached it like this:

Ionian
Mixolydian (b7)
Dorian (b3) b7
Aeolian b3 (b6) b7
Phrygian (b2) b3 b6 b7
Locrian b2 b3 (b5) b6 b7
Lydian #4


Those all relate to the major scale, and what notes you would change to produce the mode. When a note is in brackets, that is the note which is changed since the previous mode.
It would be too cumbersome to write, for example
Locrian b2 b3 (dim5) b6 b7
At least for the sake of explanation. Trust me, with every student I've had, as soon as you throw "diminished" or "augmented" or "double flat" or "play Db phrygian, and tell me the key signature" within the first couple lessons, they freak.


:) Thanks

it's stuff like this we need more of on Talkbass, not "wuts ur fav bass"

Just my nitpicking, just because it's not in the lesson doesn't mean it's not out there. I try to be as general as possible so the student doesn't freak out once you get to more advanced stuff.

Also good point on the b5 chords, but there is shorthand for aug and dim for the record (x and o).

kynoch--did you see the pdf I uploaded. It has an example at the end that might help.

Thanks man...that's what I needed.... a bit of clarification....I am also down with WE NEED MORE OF THIS on TB...I love it!!!!:hyper::hyper::hyper:

No such thing as a #4 or b5. Perfect intervals cannot be sharp or flat, they are augmented or diminished.

To nitpick a little more, #4 and b5 are not the same thing as minor/major/aug/dim. I think you're kind of conflating two different things here. So there is no actual contradiction with the sharp 4th (though there was with the minor 5th).

A sharp or a flat is just an operation we perform on a specified note, it's not (as you know) one of the terms we use to characterize intervals. If you use the major scale as a starting point, it's not so wrong IMO to say that you can "sharp" or "flat" certain notes to derive different scales or intervals, even if you or I might prefer different terminology. (I think tom got into this.) For instance, it's perfectly understandable to say that when you "sharp" the upper tone of a perfect fifth (though of course we can think of many such cases where no actual sharp is involved), the resulting interval is an augmented fifth. When you say a sharp 4th, you're not saying that's the name of the interval; you're saying that the 4th in this scale/chord is one step higher than the 4th in a comparison scale/chord.

But as you note, fourths and fifths, as intervals, cannot be major or minor, only augmented or diminished, and this was the most important point.

To nitpick a little more, #4 and b5 are not the same thing as minor/major/aug/dim. I think you're kind of conflating two different things here. So there is no actual contradiction with the sharp 4th (though there was with the minor 5th).

A sharp or a flat is just an operation we perform on a specified note, it's not (as you know) one of the terms we use to characterize intervals. If you use the major scale as a starting point, it's not so wrong IMO to say that you can "sharp" or "flat" certain notes to derive different scales or intervals, even if you or I might prefer different terminology. (I think tom got into this.) For instance, it's perfectly understandable to say that when you "sharp" the upper tone of a perfect fifth (though of course we can think of many such cases where no actual sharp is involved), the resulting interval is an augmented fifth. When you say a sharp 4th, you're not saying that's the name of the interval; you're saying that the 4th in this scale/chord is one step higher than the 4th in a comparison scale/chord.

But as you note, fourths and fifths, as intervals, cannot be major or minor, only augmented or diminished, and this was the most important point.


Fair point, I think there's an inconsistency there in the difference between naming intervals and chord/scale tones - but that's just the way it is in the real world so not much point in complaining about it. However I still think it's important that people know the difference.