Bass "Scale Pattern's?

Whoa there!

Firstly, yes you have go those scales correct!

May I suggest thinking in terms of intervals (that is the no. of semi-tones and tones between notes) then real notes, rather than the pattern on the fretboard?
The "TTSTTTS" examples you have used above are spot on, stick with that until you can remember all the actual notes.
From what I gather (I'm still learning this stuff myself) this will come with time as you learn to better understand chords, key signetures etc.

Well, Am#7 is not a key signeture, it's a chord.

Chords are built by taking the 1st, 3rd, 5th and often the 7th note of a scale and playing them together.

So taking the Major scale you would play the 1st note (the root), the 3rd, the 5th and the 7th together to make a Maj7 chord.

In most cases the 'A' would be the root note as you said above.
The 'm' would indicate a minor 3rd, so from the root A, move up two intervals on the minor scale you post above.
However the #7 would mean it is a Major 7th, rather than a minor one (although the 3rd IS minor), so you would play the 7th note from the A Major scale - the one you posted above.

Unless I'm mistaken this is 'the Hendrix chord" - the one he used in purple haze - characterised by the min3 and maj7???

I could witter on about this for hours and probably confuse myself as much I'd confuse you...
One of TB's moderators (jazzbo) has written a great lesson on chord theory (and some other stuff) that I think would really help you out, here's a link:

http://www.talkbass.com/html/modules.php?name=News&file=article&sid=31

It's a pretty hefty amount of info to take in, but learning this will help everything make alot more sense I assure you

 

No, it's an E7#9.

Other than that, Howard's on the money here

 

Right, and the #9 is effectvley a minor 3rd over the Major 3rd in the E7 chord. I knew there was some sort of Major/minor thing going on there. Is that right?

Am I? Blimey!

 

Yup.

 

In what way does the application of this have you confused?

 

Try transcribing other peoples songs, putting theory into practice. You're band sounds likw it might be a case of the blind leading the blind, then giving up and rocking instead..

If you figure out the theory behind some other artists musc it might give you some ideas? Then you can seize the initiative with the band!

 

Another Scale pattern that I'm rather fond of.

this is the one I use for major scales almost exclusively.

G|-----|-----|-----|-----|-----
D|-----|--*--|--*--|-----|-----
A|--*--|-----|--*--|-----|--*--
E|--*--|-----|--*--|-----|--*--


I find that it not only works my hand a little more, but leaves me more room for soloing.

 

Disclaimer: DO NOT just learn patterns. Learn notes. These patterns help me when soloing, though. I suppose some folks are comfortable enough that they could fly through a great solo and name all the notes while they're playing; I'm not. But still learn theory.

These also help reinforce Pacman's scale idea, which is that you should know all the notes possible in a given position, and be able to move through various positions within the same scale. Another thing is that it can help your understanding of modes (with which I'm still struggling).

Here's the one for major and minor.



By the way, I didn't draw this.

 

I also have them for major/minor pentatonic and major/minor in CGDA tuning. But, my photo editor doesn't seem to want to open those. If someone with photoshop wants to post them I'll e-mail them.

 

i use three figure patterns per scale (well, non diatonic scales are a little different.)

for example:
Lydian:
G|-----|-----|-----|-----|-----
D|-----|--*--|--*--|-----|-----
A|-----|--*--|--*--|-----|--*--
E|--*--|-----|--*--|-----|--*--

G|-----|-----|-----|-----|-----
D|--*--|-----|--*--|--*--|-----
A|--*--|-----|--*--|--*--|-----
E|-----|--*--|-----|--*--|-----

G|--*--|-----|-----|-----|-----
D|--*--|-----|--*--|-----|--*--
A|--*--|-----|--*--|-----|--*--
E|-----|-----|-----|--*--|-----

All three fit together, too:


|-----|-(1)-|-----|--2--|-----|--4--
|-----|--1--|-----|--2--|-----|--4--
|-----|--1--|-----|--2--|-----|--4--
|-----|--1--|-----|--3--|-(4)-|-----
|-----|--1--|-----|--3--|--4--|-----
|-----|--1--|-(2)-|-----|--4--|-----
|-----|--1--|--2--|-----|--4--|-----
|-(1)-|-----|--2--|-----|--4--|-----

() = root
1,2,3,4 = finger

If you change the root, you will have fingerings for an other mode. You can do that for all 7 modes. There are only three patterns used:
(A)|--1--|-----|--2--|-----|--4--|
(B)|--1--|-----|--3--|--4--|-----|
and
(C)|--1--|--2--|-----|--4--|-----|

For diatonic scales, they will always be in the order:
3x A
2x C
2x B
3x A
2x C
2x B
etc.

 

Here they are in Bitmap format. Again, my photo editor won't open them, and my version of MSPaint doesn't convert bitmaps to jpegs. But if anybody feels like converting them, please do. In the past, I've had trouble with bitmaps not showing up right.

Here's major and minor pentatonic.



It's important to remember that these are based on 2 patterns:

Code:

|*| |*|*|
|*| |*|*|
|*|*| |*|
|*|*| |*|

and

Code:

|*| |*| |*|*|
|*| |*|*| |*|
|*| |*|*| |*|
|*|*| |*| |*|

(for the minor/major, I don't feel like doing the others, but you get the idea.

 

HI guys!!

I was just wondering which fingerings you guys mostly prefer??
Is it ....


-----1----3--4-----
-----1----3--4-----
-----1--2----4-----
--------2----4-----


or...

------1--2----4-----
------1--2----4-----
---1-----2----4-----
---1-----2----4-----


?????

 

it all depends where im playing on the board as to what fingers i use

 

I vote for the first "box" since I generally stay beneath the 12th fret (don´t solo that much). If I´d play the second one I´d have to move my hand a bit (not far, but still...) to get to the sixth and third, wich I use quite a lot. So box 1 for me!

Edit: Or the root or fourth depending on where my hand is at the moment... of course...

 

Just recently it hit me that in any given position there are only 3 actual fingering shapes for a scale or mode, and which one is used depends on which finger the root of the mode starts from. Please note that the numbers in the shapes are the scale degrees, not the fret numbers or fingerings.

Example:

Ionian(major scale shapes)

If you start the mode with your index finger on the root the shape would be(ascending starting root note in parentheses):

G---l-----l-----l-----l-----l-----
D---l-----l--7--l--R--l-----l-----
A---l--4--l-----l--5--l-----l--6--
E---l-(R)-l-----l--2--l-----l--3--

If you start the mode with either middle finger on the root:

G---l-----l-----l-----l-----l-----
D---l--6--l-----l--7--l--R--l-----
A---l--3--l--4--l-----l--5--l-----
E---l-----l-(R)-l-----l--2--l-----

If you start the mode with your pinkie on the root:
G---l--R--l----l-----l-----l-----
D---l--5--l----l--6--l-----l--7--
A---l--2--l----l--3--l--4--l-----
E---l-----l-----l-----l-(R)-l-----



Aolian mode(minor scale shapes)

If you start the mode with your index finger on the root:

G---l-----l-----l-----l-----l-----
D---l--7--l-----l--R--l-----l-----
A---l--4--l-----l--5--l--6--l-----
E---l-(R)-l-----l--2--l--3--l-----

If you start the mode with either middle finger on the root:

G---l-----l-----l-----l-----l-----l-----
D---l--6--l-----l--7--l-----l--R--l-----
A---l--3--l-----l--4--l-----l--5--l-----
E---l-----l-----l-(R)-l-----l--2--l-----

If you start the mode with your pinkie on the root:
G---l--R--l-----l-----l-----l-----
D---l--5--l--6--l-----l--7--l-----
A---l--2--l--3--l-----l--4--l-----
E---l-----l-----l-----l-(R)-l-----


In actuality, learning those six shapes are the only ones you really need to focus on, as it is pretty easy to just deduce what scale degrees to raise or lower to create the rest of the modes as such:

The "major" modes:

Lydian=raise the 4th a half step in any 3 of the major scale shapes

Mixolydian=lower the 7th a half step in any 3 of the major scale shapes

The "minor" modes:

Dorian=raise the 6th a half step in any of the 3 minor scale shapes

Phrygian=lower the 2nd a half step in any of the 3 minor scale shapes

Locrian=lower the 2nd and the 5th a half step in any of the 3 minor scale shapes

_________________________


Obviously from there the shapes can be connected together as needed.

This sounds a lot more complicated than it actually is I'm sure but it is the end of my work shift and I don't know how to explain it better. At any rate this was a lightbulb coming on in my head when it hit me and improvising has gotten MUCH easier since I figured this one out.