Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Internalizing scales, chords, and arpeggios
- Thread starter Kurisu
- Start date
So...These are the four different arpeggios, in 20 different arpeggio shapes, separated out:
[Major 7 Arpeggio]
|--7--|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-----|
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|--1--|
|-----|--3--|-----|-----|--5--|
|-----|--7--|--1--|-----|-----|
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|--1--|
|-----|--3--|-----|-----|--5--|
|-----|--7--|--1--|-----|-----|
|-----|-----|--5--|-----|-----|
|-----|-----|-----|-----|--3--|
|--3--|-----|-----|--5--|-----|
|--7--|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-----|
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|--1--|
|-----|--3--|-----|-----|--5--|
|-----|--5--|-----|-----|-----|
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|--1--|
|-----|--3--|-----|-----|--5--|
|-----|--7--|--1--|-----|-----|
|-----|-----|--5--|-----|-----|
|-----|-----|--7--|--1--|-----|
|--3--|-----|-----|--5--|-----|
|--7--|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-----|
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|--1--|
Note that these, and the arpeggios below, are in fretboard order. You could glue them together end to end to make a continuous fretboard diagram.
[Major 7 Arpeggio]
|--7--|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-----|
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|--1--|
|-----|--3--|-----|-----|--5--|
|-----|--7--|--1--|-----|-----|
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|--1--|
|-----|--3--|-----|-----|--5--|
|-----|--7--|--1--|-----|-----|
|-----|-----|--5--|-----|-----|
|-----|-----|-----|-----|--3--|
|--3--|-----|-----|--5--|-----|
|--7--|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-----|
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|--1--|
|-----|--3--|-----|-----|--5--|
|-----|--5--|-----|-----|-----|
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|--1--|
|-----|--3--|-----|-----|--5--|
|-----|--7--|--1--|-----|-----|
|-----|-----|--5--|-----|-----|
|-----|-----|--7--|--1--|-----|
|--3--|-----|-----|--5--|-----|
|--7--|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-----|
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|--1--|
Note that these, and the arpeggios below, are in fretboard order. You could glue them together end to end to make a continuous fretboard diagram.
[Dominant 7 Arpeggio]
|-----|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-----|--3--|-----|
|-----|-----|-b7--|-----|--1--|
|-----|--3--|-----|-----|--5--|
|-----|-----|--1--|-----|-----|
|-----|-----|--3--|-----|-----|
|-----|-b7--|-----|--1--|-----|
|--3--|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-----|--3--|-----|
|--3--|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-----|--3--|-----|
|-----|-----|-b7--|-----|--1--|
|-----|--3--|-----|-----|--5--|
|--5--|-----|-----|-b7--|-----|
|-----|-----|--3--|-----|-----|
|-----|-b7--|-----|--1--|-----|
|--3--|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-b7--|
|-----|-b7--|-----|--1--|-----|
|--3--|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-----|--3--|-----|
|-----|-----|-b7--|-----|--1--|
|-----|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-----|--3--|-----|
|-----|-----|-b7--|-----|--1--|
|-----|--3--|-----|-----|--5--|
|-----|-----|--1--|-----|-----|
|-----|-----|--3--|-----|-----|
|-----|-b7--|-----|--1--|-----|
|--3--|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-----|--3--|-----|
|--3--|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-----|--3--|-----|
|-----|-----|-b7--|-----|--1--|
|-----|--3--|-----|-----|--5--|
|--5--|-----|-----|-b7--|-----|
|-----|-----|--3--|-----|-----|
|-----|-b7--|-----|--1--|-----|
|--3--|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-b7--|
|-----|-b7--|-----|--1--|-----|
|--3--|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-----|--3--|-----|
|-----|-----|-b7--|-----|--1--|
[minor 7 Arpeggio]
|--1--|-----|-----|-b3--|-----|
|--5--|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-----|
|-----|-b7--|-----|--1--|-----|
|-----|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-b3--|
|-----|-b3--|-----|-----|-----|
|-----|-b7--|-----|--1--|-----|
|-----|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-b3--|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-b3--|-----|-----|
|-----|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-b3--|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-b3--|-----|-----|
|-----|-----|-b7--|-----|--1--|
|-----|-----|-----|-----|--5--|
|--5--|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-----|
|-----|-b7--|-----|--1--|-----|
|-----|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-b3--|
|-----|--5--|-----|-----|-b7--|
|-b7--|-----|--1--|-----|-----|
|-----|-----|--5--|-----|-----|
|--1--|-----|-----|-b3--|-----|
|--5--|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-----|
|-----|-b7--|-----|--1--|-----|
|--1--|-----|-----|-b3--|-----|
|--5--|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-----|
|-----|-b7--|-----|--1--|-----|
|-----|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-b3--|
|-----|-b3--|-----|-----|-----|
|-----|-b7--|-----|--1--|-----|
|-----|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-b3--|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-b3--|-----|-----|
|-----|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-b3--|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-b3--|-----|-----|
|-----|-----|-b7--|-----|--1--|
|-----|-----|-----|-----|--5--|
|--5--|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-----|
|-----|-b7--|-----|--1--|-----|
|-----|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-b3--|
|-----|--5--|-----|-----|-b7--|
|-b7--|-----|--1--|-----|-----|
|-----|-----|--5--|-----|-----|
|--1--|-----|-----|-b3--|-----|
|--5--|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-----|
|-----|-b7--|-----|--1--|-----|
[half-diminished 7 or m7b5 Arpeggios]
|--1--|-----|-----|-b3--|-----|
|-----|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-b5--|
|-----|-b7--|-----|--1--|-----|
|-----|-----|-b5--|-----|-----|
|-----|--1--|-----|-----|-b3--|
|-b3--|-----|-----|-b5--|-----|
|-b7--|-----|--1--|-----|-----|
|-----|-b5--|-----|-----|-----|
|--1--|-----|-----|-b3--|-----|
|-----|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-b5--|
|-----|-b5--|-----|-----|-----|
|--1--|-----|-----|-b3--|-----|
|-----|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-b5--|
|-----|-b7--|-----|--1--|-----|
|-----|-----|-b5--|-----|-----|
|-----|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-b5--|
|-----|-b7--|-----|--1--|-----|
|-----|-----|-b5--|-----|-----|
|-----|--1--|-----|-----|-b3--|
|-----|-----|-----|-----|-b7--|
|-b7--|-----|--1--|-----|-----|
|-----|-b5--|-----|-----|-----|
|--1--|-----|-----|-b3--|-----|
|-----|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-b5--|
|-----|-b7--|-----|--1--|-----|
|--1--|-----|-----|-b3--|-----|
|-----|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-b5--|
|-----|-b7--|-----|--1--|-----|
|-----|-----|-b5--|-----|-----|
|-----|--1--|-----|-----|-b3--|
|-b3--|-----|-----|-b5--|-----|
|-b7--|-----|--1--|-----|-----|
|-----|-b5--|-----|-----|-----|
|--1--|-----|-----|-b3--|-----|
|-----|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-b5--|
|-----|-b5--|-----|-----|-----|
|--1--|-----|-----|-b3--|-----|
|-----|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-b5--|
|-----|-b7--|-----|--1--|-----|
|-----|-----|-b5--|-----|-----|
|-----|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-b5--|
|-----|-b7--|-----|--1--|-----|
|-----|-----|-b5--|-----|-----|
|-----|--1--|-----|-----|-b3--|
|-----|-----|-----|-----|-b7--|
|-b7--|-----|--1--|-----|-----|
|-----|-b5--|-----|-----|-----|
|--1--|-----|-----|-b3--|-----|
|-----|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-b5--|
|-----|-b7--|-----|--1--|-----|
wow this thread has really taken off. I want to give an extreme thanks to Tim99 for codifying everything - that is a great deal of work and I thank you so very much.
I would also like to take a moment to thanks someone who sent me a PM letting me know that I was irresponsible for saying that it is not important to know the notes - just the patterns. Let me take a moment to address this.
It is vital that you know the notes on the bass. It is also vital that you understand how each chord is constructed and the names of each note in the arpeggio. That is for academic study. It is vitally important. That being said ...
To try and play fluidly, by thinking what you want to play, naming the notes, figuring out where to play them and then executing the playing of the note, is just too many steps. There has to be more of an immediacy between the inspiration and the execution. Some of this I already mentioned.
1. Know the song, all of it from the bass to the melody as well as the harmony. Know each of the chords and the notes that comprise them. Know this from an academic standpoint as well as from the practical standpoint (being able to play the arpeggios).
2. Have a key or tonal center and it's appropriate scale forms at your disposal (practical and theoretical)
3. Use the scale forms to give yourself a "starting point" or a place to reference
4.Stop thinking about 1.2.and 3 and SING everything you play as you play it. Create a direct path from the source to your fingers.
5. Know the theory and then remove the theory from the performance. It just gets in the way.
Practice singing everything that you play (ala George benson or Oteil). It is invaluable.
The goal of every musician is to somehow, somewhere, someway get the music to flow through them. It cannot be encumbered by the thought process. You have had to do your thinking before hand. You need to do your analysis before hand, you need to prepare well so that the music comes through you and from within you not from some analysis. By singing what you play you create a direct connection from your heart to your fingers
OK, I still on vacation - so I'll add more later. Thanks for all your input everyone
Mike
I would also like to take a moment to thanks someone who sent me a PM letting me know that I was irresponsible for saying that it is not important to know the notes - just the patterns. Let me take a moment to address this.
It is vital that you know the notes on the bass. It is also vital that you understand how each chord is constructed and the names of each note in the arpeggio. That is for academic study. It is vitally important. That being said ...
To try and play fluidly, by thinking what you want to play, naming the notes, figuring out where to play them and then executing the playing of the note, is just too many steps. There has to be more of an immediacy between the inspiration and the execution. Some of this I already mentioned.
1. Know the song, all of it from the bass to the melody as well as the harmony. Know each of the chords and the notes that comprise them. Know this from an academic standpoint as well as from the practical standpoint (being able to play the arpeggios).
2. Have a key or tonal center and it's appropriate scale forms at your disposal (practical and theoretical)
3. Use the scale forms to give yourself a "starting point" or a place to reference
4.Stop thinking about 1.2.and 3 and SING everything you play as you play it. Create a direct path from the source to your fingers.
5. Know the theory and then remove the theory from the performance. It just gets in the way.
Practice singing everything that you play (ala George benson or Oteil). It is invaluable.
The goal of every musician is to somehow, somewhere, someway get the music to flow through them. It cannot be encumbered by the thought process. You have had to do your thinking before hand. You need to do your analysis before hand, you need to prepare well so that the music comes through you and from within you not from some analysis. By singing what you play you create a direct connection from your heart to your fingers
OK, I still on vacation - so I'll add more later. Thanks for all your input everyone
Mike
Lesson 1.
Learn the Major 7th Arpeggios by position.
Second finger first lowest string:
|--7--|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-----|
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|--1--|
|-----|--3--|-----|-----|--5--|
|-----|--7--|-[1]-|-----|-----|
Second finger second lowest string:
|-----|--5--|-----|-----|-----|
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|--1--|
|-----|--3--|-----|-----|--5--|
|-----|--7--|-[1]-|-----|-----|
|-----|-----|--5--|-----|-----|
Second finger third lowest string:
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|--1--|
|-----|--3--|-----|-----|--5--|
|-----|--7--|-[1]-|-----|-----|
|-----|-----|--5--|-----|-----|
|-----|-----|-----|-----|--3--|
Fourth finger first lowest string:
|-----|-----|--7--|--1--|-----|
|--3--|-----|-----|--5--|-----|
|--7--|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-----|
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|-[1]-|
Fourth finger second lowest string:
|--3--|-----|-----|--5--|-----|
|--7--|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-----|
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|-[1]-|
|-----|--3--|-----|-----|--5--|
Fourth finger third lowest string:
|--7--|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-----|
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|-[1]-|
|-----|--3--|-----|-----|--5--|
|-----|--7--|--1--|-----|-----|
Note where the root/tonic/[1] notes are. Play from the [1] up and down and up again to end on the [1]. Note that the last chart is a repeat of the first chart, but needs to be learned as a separate form to be able to use it in its position.
Look at the five scale forms and look at were the 1st degree and the 4th degree of the scale is, that is where the M7th arpeggios start from.
.
Learn the Major 7th Arpeggios by position.
Second finger first lowest string:
|--7--|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-----|
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|--1--|
|-----|--3--|-----|-----|--5--|
|-----|--7--|-[1]-|-----|-----|
Second finger second lowest string:
|-----|--5--|-----|-----|-----|
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|--1--|
|-----|--3--|-----|-----|--5--|
|-----|--7--|-[1]-|-----|-----|
|-----|-----|--5--|-----|-----|
Second finger third lowest string:
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|--1--|
|-----|--3--|-----|-----|--5--|
|-----|--7--|-[1]-|-----|-----|
|-----|-----|--5--|-----|-----|
|-----|-----|-----|-----|--3--|
Fourth finger first lowest string:
|-----|-----|--7--|--1--|-----|
|--3--|-----|-----|--5--|-----|
|--7--|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-----|
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|-[1]-|
Fourth finger second lowest string:
|--3--|-----|-----|--5--|-----|
|--7--|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-----|
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|-[1]-|
|-----|--3--|-----|-----|--5--|
Fourth finger third lowest string:
|--7--|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-----|
|-----|-----|-----|--3--|-----|
|-----|-----|-----|--7--|-[1]-|
|-----|--3--|-----|-----|--5--|
|-----|--7--|--1--|-----|-----|
Note where the root/tonic/[1] notes are. Play from the [1] up and down and up again to end on the [1]. Note that the last chart is a repeat of the first chart, but needs to be learned as a separate form to be able to use it in its position.
Look at the five scale forms and look at were the 1st degree and the 4th degree of the scale is, that is where the M7th arpeggios start from.
.
More Lesson 1.
Lets look at playing these arpeggio forms up and down and up. Looking at the fourth finger second lowest string Major 7th arpeggio form for 5 string bass, in order, first I play up:
|--4--|--5--|-----|-----|-----|
|-----|--3--|-----|-----|-----|
|-----|-----|-----|--2--|-----|
|-----|-----|-----|-----|-[1]-|
|-----|-----|-----|-----|-----|
then down:
|--6--|-----|-----|-----|-----|
|-----|--7--|-----|-----|-----|
|-----|-----|-----|--8--|-----|
|-----|-----|-----|-10--|-[9]-|
|-----|-12--|-----|-----|-11--|
then back up:
|-----|-----|-----|-----|-----|
|-----|-----|-----|-----|-----|
|-----|-----|-----|-----|-----|
|-----|-----|-----|-14--|[15]-|
|-----|-----|-----|-----|-13--|
Repeat.
After you learn the forms by playing up from the [1], play each form starting on the other notes. Play starting up. Play starting down. Think about the chord number/degree you are playing from. Then you can play this arpeggio starting at any note in the arpeggio, moving in any direction, at any location on the neck.
The arpeggios are shown with six strings. For five string bass, delete one top line. For four string bass, delete the top two lines.
Repeat to yourself: "I can do this." "This is easy." "This is fun."
The reason I used the above example is so I could also talk about the fingering of the 3, 4, 5, 6, and 7 notes. I shift my first finger to play the 3, 4, 6, and 7 notes. The first finger is the finger that plays these positions in the scale form, and in the other arpeggios.
You may be able to play it faster by fingering another way, but speed is not my goal. Remember that we are learning arpeggios to use as tools. The moment that you KNOW the arpeggio, and start to play it as a finger exercise, in front of the tv, without thinking about the degrees or the tonic position, you are not thinking about it as a tool with chord notes. While it is good to practice these like that as a finger exercise when you get to that point, to continue to learn what we are trying to learn here you need to turn off the tv and you may need to actually play them slower and slower and slower while thinking about the degrees by number.
.
Lets look at playing these arpeggio forms up and down and up. Looking at the fourth finger second lowest string Major 7th arpeggio form for 5 string bass, in order, first I play up:
|--4--|--5--|-----|-----|-----|
|-----|--3--|-----|-----|-----|
|-----|-----|-----|--2--|-----|
|-----|-----|-----|-----|-[1]-|
|-----|-----|-----|-----|-----|
then down:
|--6--|-----|-----|-----|-----|
|-----|--7--|-----|-----|-----|
|-----|-----|-----|--8--|-----|
|-----|-----|-----|-10--|-[9]-|
|-----|-12--|-----|-----|-11--|
then back up:
|-----|-----|-----|-----|-----|
|-----|-----|-----|-----|-----|
|-----|-----|-----|-----|-----|
|-----|-----|-----|-14--|[15]-|
|-----|-----|-----|-----|-13--|
Repeat.
After you learn the forms by playing up from the [1], play each form starting on the other notes. Play starting up. Play starting down. Think about the chord number/degree you are playing from. Then you can play this arpeggio starting at any note in the arpeggio, moving in any direction, at any location on the neck.
The arpeggios are shown with six strings. For five string bass, delete one top line. For four string bass, delete the top two lines.
Repeat to yourself: "I can do this." "This is easy." "This is fun."
The reason I used the above example is so I could also talk about the fingering of the 3, 4, 5, 6, and 7 notes. I shift my first finger to play the 3, 4, 6, and 7 notes. The first finger is the finger that plays these positions in the scale form, and in the other arpeggios.
You may be able to play it faster by fingering another way, but speed is not my goal. Remember that we are learning arpeggios to use as tools. The moment that you KNOW the arpeggio, and start to play it as a finger exercise, in front of the tv, without thinking about the degrees or the tonic position, you are not thinking about it as a tool with chord notes. While it is good to practice these like that as a finger exercise when you get to that point, to continue to learn what we are trying to learn here you need to turn off the tv and you may need to actually play them slower and slower and slower while thinking about the degrees by number.
.
Lesson 2.
Similar to lesson 1.
Learn the Dominant 7th Arpeggios by position.
Second finger first lowest string:
|--1--|-----|-----|-----|-----|
|--5--|-----|-----|-b7--|-----|
|-----|-----|--3--|-----|-----|
|-----|-b7--|-----|--1--|-----|
|--3--|-----|-----|--5--|-----|
|-----|-[1]-|-----|-----|-----|
Second finger second lowest string:
|--5--|-----|-----|-b7--|-----|
|-----|-----|--3--|-----|-----|
|-----|-b7--|-----|--1--|-----|
|--3--|-----|-----|--5--|-----|
|-----|-[1]-|-----|-----|-----|
|-----|--5--|-----|-----|-b7--|
Second finger third lowest string:
|-----|-----|--3--|-----|-----|
|-----|-b7--|-----|--1--|-----|
|--3--|-----|-----|--5--|-----|
|-----|-[1]-|-----|-----|-----|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-----|--3--|-----|
Fourth finger first lowest string:
|-----|-b7--|-----|--1--|-----|
|--3--|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-----|--3--|-----|
|-----|-----|-b7--|-----|-[1]-|
Fourth finger second lowest string:
|--3--|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-----|--3--|-----|
|-----|-----|-b7--|-----|-[1]-|
|-----|--3--|-----|-----|--5--|
Fourth finger third lowest string:
|-----|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-----|--3--|-----|
|-----|-----|-b7--|-----|-[1]-|
|-----|--3--|-----|-----|--5--|
|-----|-----|--1--|-----|-----|
Note where the root/tonic/[1] notes are. Play from the [1] up and down and up again to end on the [1]. Note that the last chart is a repeat of the first chart, but needs to be learned as a separate form to be able to use it in its position.
Look at the five scale forms and look at were the 5th degree of the scale is, that is where the Dom7th arpeggio starts from.
.
Similar to lesson 1.
Learn the Dominant 7th Arpeggios by position.
Second finger first lowest string:
|--1--|-----|-----|-----|-----|
|--5--|-----|-----|-b7--|-----|
|-----|-----|--3--|-----|-----|
|-----|-b7--|-----|--1--|-----|
|--3--|-----|-----|--5--|-----|
|-----|-[1]-|-----|-----|-----|
Second finger second lowest string:
|--5--|-----|-----|-b7--|-----|
|-----|-----|--3--|-----|-----|
|-----|-b7--|-----|--1--|-----|
|--3--|-----|-----|--5--|-----|
|-----|-[1]-|-----|-----|-----|
|-----|--5--|-----|-----|-b7--|
Second finger third lowest string:
|-----|-----|--3--|-----|-----|
|-----|-b7--|-----|--1--|-----|
|--3--|-----|-----|--5--|-----|
|-----|-[1]-|-----|-----|-----|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-----|--3--|-----|
Fourth finger first lowest string:
|-----|-b7--|-----|--1--|-----|
|--3--|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-----|--3--|-----|
|-----|-----|-b7--|-----|-[1]-|
Fourth finger second lowest string:
|--3--|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-----|--3--|-----|
|-----|-----|-b7--|-----|-[1]-|
|-----|--3--|-----|-----|--5--|
Fourth finger third lowest string:
|-----|--1--|-----|-----|-----|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-----|--3--|-----|
|-----|-----|-b7--|-----|-[1]-|
|-----|--3--|-----|-----|--5--|
|-----|-----|--1--|-----|-----|
Note where the root/tonic/[1] notes are. Play from the [1] up and down and up again to end on the [1]. Note that the last chart is a repeat of the first chart, but needs to be learned as a separate form to be able to use it in its position.
Look at the five scale forms and look at were the 5th degree of the scale is, that is where the Dom7th arpeggio starts from.
.
Lesson 3.
Similar to lesson 1.
Learn the minor 7th Arpeggios by position.
First finger first lowest string:
|--1--|-----|-----|-b3--|-----|
|--5--|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-----|
|-----|-b7--|-----|--1--|-----|
|-----|-----|-----|--5--|-----|
|-----|-[1]-|-----|-----|-b3--|
First finger second lowest string:
|--5--|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-----|
|-----|-b7--|-----|--1--|-----|
|-----|-----|-----|--5--|-----|
|-----|-[1]-|-----|-----|-b3--|
|-----|--5--|-----|-----|-b7--|
First finger third lowest string:
|-----|-b3--|-----|-----|-----|
|-----|-b7--|-----|--1--|-----|
|-----|-----|-----|--5--|-----|
|-----|-[1]-|-----|-----|-b3--|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-b3--|-----|-----|
Fourth finger first lowest string:
|-b7--|-----|--1--|-----|-----|
|-----|-----|--5--|-----|-----|
|--1--|-----|-----|-b3--|-----|
|--5--|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-----|
|-----|-b7--|-----|-[1]-|-----|
Fourth finger second lowest string:
|-----|-----|--5--|-----|-----|
|--1--|-----|-----|-b3--|-----|
|--5--|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-----|
|-----|-b7--|-----|-[1]-|-----|
|-----|-----|-----|--5--|-----|
Fourth finger third lowest string:
|--1--|-----|-----|-b3--|-----|
|--5--|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-----|
|-----|-b7--|-----|-[1]-|-----|
|-----|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-b3--|
Note where the root/tonic/[1] notes are. Play from the [1] up and down and up again to end on the [1]. Note that the last chart is a repeat of the first chart, but needs to be learned as a separate form to be able to use it in its position.
Look at the five scale forms and look at were the 2nd, 3rd, and 6th degrees of the scale are, that is where the min7th arpeggios start from.
.
Similar to lesson 1.
Learn the minor 7th Arpeggios by position.
First finger first lowest string:
|--1--|-----|-----|-b3--|-----|
|--5--|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-----|
|-----|-b7--|-----|--1--|-----|
|-----|-----|-----|--5--|-----|
|-----|-[1]-|-----|-----|-b3--|
First finger second lowest string:
|--5--|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-----|
|-----|-b7--|-----|--1--|-----|
|-----|-----|-----|--5--|-----|
|-----|-[1]-|-----|-----|-b3--|
|-----|--5--|-----|-----|-b7--|
First finger third lowest string:
|-----|-b3--|-----|-----|-----|
|-----|-b7--|-----|--1--|-----|
|-----|-----|-----|--5--|-----|
|-----|-[1]-|-----|-----|-b3--|
|-----|--5--|-----|-----|-b7--|
|-----|-----|-b3--|-----|-----|
Fourth finger first lowest string:
|-b7--|-----|--1--|-----|-----|
|-----|-----|--5--|-----|-----|
|--1--|-----|-----|-b3--|-----|
|--5--|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-----|
|-----|-b7--|-----|-[1]-|-----|
Fourth finger second lowest string:
|-----|-----|--5--|-----|-----|
|--1--|-----|-----|-b3--|-----|
|--5--|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-----|
|-----|-b7--|-----|-[1]-|-----|
|-----|-----|-----|--5--|-----|
Fourth finger third lowest string:
|--1--|-----|-----|-b3--|-----|
|--5--|-----|-----|-b7--|-----|
|-----|-b3--|-----|-----|-----|
|-----|-b7--|-----|-[1]-|-----|
|-----|-----|-----|--5--|-----|
|-----|--1--|-----|-----|-b3--|
Note where the root/tonic/[1] notes are. Play from the [1] up and down and up again to end on the [1]. Note that the last chart is a repeat of the first chart, but needs to be learned as a separate form to be able to use it in its position.
Look at the five scale forms and look at were the 2nd, 3rd, and 6th degrees of the scale are, that is where the min7th arpeggios start from.
.
Lesson 4.
Similar to lesson 1.
Learn the half-diminished or m7b5 Arpeggios by position.
First finger first lowest string:
|--1--|-----|-----|-b3--|-----|-----|
|-----|-----|-----|-b7--|-----|-----|
|-----|-b3--|-----|-----|-b5--|-----|
|-----|-b7--|-----|--1--|-----|-----|
|-----|-----|-b5--|-----|-----|-----|
|-----|-[1]-|-----|-----|-b3--|-----|
First finger second lowest string:
|-----|-----|-----|-b7--|-----|-----|
|-----|-b3--|-----|-----|-b5--|-----|
|-----|-b7--|-----|--1--|-----|-----|
|-----|-----|-b5--|-----|-----|-----|
|-----|-[1]-|-----|-----|-b3--|-----|
|-----|-----|-----|-----|-b7--|-----|
First finger third lowest string:
|-----|-b3--|-----|-----|-b5--|-----|
|-----|-b7--|-----|--1--|-----|-----|
|-----|-----|-b5--|-----|-----|-----|
|-----|-[1]-|-----|-----|-b3--|-----|
|-----|-----|-----|-----|-b7--|-----|
|-----|-----|-b3--|-----|-----|-b5--|
Fourth finger first lowest string:
|-b7--|-----|--1--|-----|-----|-----|
|-----|-b5--|-----|-----|-----|-----|
|--1--|-----|-----|-b3--|-----|-----|
|-----|-----|-----|-b7--|-----|-----|
|-----|-b3--|-----|-----|-b5--|-----|
|-----|-b7--|-----|-[1]-|-----|-----|
Fourth finger second lowest string:
|-----|-b5--|-----|-----|-----|-----|
|--1--|-----|-----|-b3--|-----|-----|
|-----|-----|-----|-b7--|-----|-----|
|-----|-b3--|-----|-----|-b5--|-----|
|-----|-b7--|-----|-[1]-|-----|-----|
|-----|-----|-b5--|-----|-----|-----|
Fourth finger third lowest string:
|--1--|-----|-----|-b3--|-----|-----|
|-----|-----|-----|-b7--|-----|-----|
|-----|-b3--|-----|-----|-b5--|-----|
|-----|-b7--|-----|-[1]-|-----|-----|
|-----|-----|-b5--|-----|-----|-----|
|-----|--1--|-----|-----|-b3--|-----|
Note where the root/tonic/[1] notes are. Play from the [1] up and down and up again to end on the [1]. Note that the last chart is a repeat of the first chart, but needs to be learned as a separate form to be able to use it in its position.
Look at the five scale forms and look at were the 7th degree of the scale is, that is where the m7b5 arpeggio starts from.
.
Similar to lesson 1.
Learn the half-diminished or m7b5 Arpeggios by position.
First finger first lowest string:
|--1--|-----|-----|-b3--|-----|-----|
|-----|-----|-----|-b7--|-----|-----|
|-----|-b3--|-----|-----|-b5--|-----|
|-----|-b7--|-----|--1--|-----|-----|
|-----|-----|-b5--|-----|-----|-----|
|-----|-[1]-|-----|-----|-b3--|-----|
First finger second lowest string:
|-----|-----|-----|-b7--|-----|-----|
|-----|-b3--|-----|-----|-b5--|-----|
|-----|-b7--|-----|--1--|-----|-----|
|-----|-----|-b5--|-----|-----|-----|
|-----|-[1]-|-----|-----|-b3--|-----|
|-----|-----|-----|-----|-b7--|-----|
First finger third lowest string:
|-----|-b3--|-----|-----|-b5--|-----|
|-----|-b7--|-----|--1--|-----|-----|
|-----|-----|-b5--|-----|-----|-----|
|-----|-[1]-|-----|-----|-b3--|-----|
|-----|-----|-----|-----|-b7--|-----|
|-----|-----|-b3--|-----|-----|-b5--|
Fourth finger first lowest string:
|-b7--|-----|--1--|-----|-----|-----|
|-----|-b5--|-----|-----|-----|-----|
|--1--|-----|-----|-b3--|-----|-----|
|-----|-----|-----|-b7--|-----|-----|
|-----|-b3--|-----|-----|-b5--|-----|
|-----|-b7--|-----|-[1]-|-----|-----|
Fourth finger second lowest string:
|-----|-b5--|-----|-----|-----|-----|
|--1--|-----|-----|-b3--|-----|-----|
|-----|-----|-----|-b7--|-----|-----|
|-----|-b3--|-----|-----|-b5--|-----|
|-----|-b7--|-----|-[1]-|-----|-----|
|-----|-----|-b5--|-----|-----|-----|
Fourth finger third lowest string:
|--1--|-----|-----|-b3--|-----|-----|
|-----|-----|-----|-b7--|-----|-----|
|-----|-b3--|-----|-----|-b5--|-----|
|-----|-b7--|-----|-[1]-|-----|-----|
|-----|-----|-b5--|-----|-----|-----|
|-----|--1--|-----|-----|-b3--|-----|
Note where the root/tonic/[1] notes are. Play from the [1] up and down and up again to end on the [1]. Note that the last chart is a repeat of the first chart, but needs to be learned as a separate form to be able to use it in its position.
Look at the five scale forms and look at were the 7th degree of the scale is, that is where the m7b5 arpeggio starts from.
.
Lesson 5.
Similar to lesson 1.
Learn the Major scale by position.
Second finger first lowest string:
|--7--|--1--|-----|--2--|-----|-----|
|-----|--5--|-----|--6--|-----|-----|
|-----|--2--|-----|--3--|--4--|-----|
|-----|--6--|-----|--7--|--1--|-----|
|-----|--3--|--4--|-----|--5--|-----|
|-----|--7--|-[1]-|-----|--2--|-----|
Second finger second lowest string:
|-----|--5--|-----|--6--|-----|-----|
|-----|--2--|-----|--3--|--4--|-----|
|-----|--6--|-----|--7--|--1--|-----|
|-----|--3--|--4--|-----|--5--|-----|
|-----|--7--|-[1]-|-----|--2--|-----|
|-----|-----|--5--|-----|--6--|-----|
Second finger third lowest string:
|-----|--2--|-----|--3--|--4--|-----|
|-----|--6--|-----|--7--|--1--|-----|
|-----|--3--|--4--|-----|--5--|-----|
|-----|--7--|-[1]-|-----|--2--|-----|
|-----|-----|--5--|-----|--6--|-----|
|-----|-----|--2--|-----|--3--|--4--|
Fourth finger first lowest string:
|--6--|-----|--7--|--1--|-----|-----|
|--3--|--4--|-----|--5--|-----|-----|
|--7--|--1--|-----|--2--|-----|-----|
|-----|--5--|-----|--6--|-----|-----|
|-----|--2--|-----|--3--|--4--|-----|
|-----|--6--|-----|--7--|-[1]-|-----|
Fourth finger second lowest string:
|--3--|--4--|-----|--5--|-----|-----|
|--7--|--1--|-----|--2--|-----|-----|
|-----|--5--|-----|--6--|-----|-----|
|-----|--2--|-----|--3--|--4--|-----|
|-----|--6--|-----|--7--|-[1]-|-----|
|-----|--3--|--4--|-----|--5--|-----|
Fourth finger third lowest string:
|--7--|--1--|-----|--2--|-----|-----|
|-----|--5--|-----|--6--|-----|-----|
|-----|--2--|-----|--3--|--4--|-----|
|-----|--6--|-----|--7--|-[1]-|-----|
|-----|--3--|--4--|-----|--5--|-----|
|-----|--7--|--1--|-----|--2--|-----|
Note where the root/tonic/[1] notes are. Play from the [1] up and down and up again to end on the [1]. Note that the last chart is a repeat of the first chart, but needs to be learned as a separate form to be able to use it in its position.
.
Similar to lesson 1.
Learn the Major scale by position.
Second finger first lowest string:
|--7--|--1--|-----|--2--|-----|-----|
|-----|--5--|-----|--6--|-----|-----|
|-----|--2--|-----|--3--|--4--|-----|
|-----|--6--|-----|--7--|--1--|-----|
|-----|--3--|--4--|-----|--5--|-----|
|-----|--7--|-[1]-|-----|--2--|-----|
Second finger second lowest string:
|-----|--5--|-----|--6--|-----|-----|
|-----|--2--|-----|--3--|--4--|-----|
|-----|--6--|-----|--7--|--1--|-----|
|-----|--3--|--4--|-----|--5--|-----|
|-----|--7--|-[1]-|-----|--2--|-----|
|-----|-----|--5--|-----|--6--|-----|
Second finger third lowest string:
|-----|--2--|-----|--3--|--4--|-----|
|-----|--6--|-----|--7--|--1--|-----|
|-----|--3--|--4--|-----|--5--|-----|
|-----|--7--|-[1]-|-----|--2--|-----|
|-----|-----|--5--|-----|--6--|-----|
|-----|-----|--2--|-----|--3--|--4--|
Fourth finger first lowest string:
|--6--|-----|--7--|--1--|-----|-----|
|--3--|--4--|-----|--5--|-----|-----|
|--7--|--1--|-----|--2--|-----|-----|
|-----|--5--|-----|--6--|-----|-----|
|-----|--2--|-----|--3--|--4--|-----|
|-----|--6--|-----|--7--|-[1]-|-----|
Fourth finger second lowest string:
|--3--|--4--|-----|--5--|-----|-----|
|--7--|--1--|-----|--2--|-----|-----|
|-----|--5--|-----|--6--|-----|-----|
|-----|--2--|-----|--3--|--4--|-----|
|-----|--6--|-----|--7--|-[1]-|-----|
|-----|--3--|--4--|-----|--5--|-----|
Fourth finger third lowest string:
|--7--|--1--|-----|--2--|-----|-----|
|-----|--5--|-----|--6--|-----|-----|
|-----|--2--|-----|--3--|--4--|-----|
|-----|--6--|-----|--7--|-[1]-|-----|
|-----|--3--|--4--|-----|--5--|-----|
|-----|--7--|--1--|-----|--2--|-----|
Note where the root/tonic/[1] notes are. Play from the [1] up and down and up again to end on the [1]. Note that the last chart is a repeat of the first chart, but needs to be learned as a separate form to be able to use it in its position.
.
Lesson 6.
Learn the cycle of 4ths.
Learn all the notes on the fretboard.
Play the scales in every key.
Below is the cycle of 4ths:
C
F
Bb
Eb
Ab
Db
Gb
B
E
A
D
G
C again
F again
continues...
Note that this cycle is CF, then (BEADG)flat, then BEADG again but not flat, then CF again on and on. This is no more difficult than learning a phone number.
Ok, write down the cycle of fourths. Look at one of the notes. Find that one note everywhere on the fretboard. Do this again for every note. Pick another note. Find that note. Keep doing this in order of the cycle of fourths or skip around.
Write down A# D# G# C# F# (the same as Bb Eb Ab Db Gb). Look at one of the notes. Find that one note everywhere on the fretboard.
Note that this is exactly what you do when you play. You look at a chord chart that has a letter and maybe a flat or a sharp next to it, and then you need to find that one note somewhere on the fretboard. You can try to learn the fretboard any other way, but no other way I know of other than this one is just like the skill we are trying to develop where we connect a chord chart chord name to a location on the fretboard. When you combine the knowledge of the scales and arpeggios by root/tonic/[1] anchor locations, and notes on the neck, you can play any scale or arpeggio anywhere on the neck.
Ok, write down your cycle of fourths. Take a yellow post it note with a line drawn on it and stick it next to C on the list of the cycle of fourths. Find every C on the fretboard. Play the C Major scale up and down and back up again from every C on the fretboard. Tomorrow, move the yellow post it to the next note on the list, and do it again. Every day move the post it one note and play that scale everywhere on the neck.
Learn the cycle of 4ths.
Learn all the notes on the fretboard.
Play the scales in every key.
Below is the cycle of 4ths:
C
F
Bb
Eb
Ab
Db
Gb
B
E
A
D
G
C again
F again
continues...
Note that this cycle is CF, then (BEADG)flat, then BEADG again but not flat, then CF again on and on. This is no more difficult than learning a phone number.
Ok, write down the cycle of fourths. Look at one of the notes. Find that one note everywhere on the fretboard. Do this again for every note. Pick another note. Find that note. Keep doing this in order of the cycle of fourths or skip around.
Write down A# D# G# C# F# (the same as Bb Eb Ab Db Gb). Look at one of the notes. Find that one note everywhere on the fretboard.
Note that this is exactly what you do when you play. You look at a chord chart that has a letter and maybe a flat or a sharp next to it, and then you need to find that one note somewhere on the fretboard. You can try to learn the fretboard any other way, but no other way I know of other than this one is just like the skill we are trying to develop where we connect a chord chart chord name to a location on the fretboard. When you combine the knowledge of the scales and arpeggios by root/tonic/[1] anchor locations, and notes on the neck, you can play any scale or arpeggio anywhere on the neck.
Ok, write down your cycle of fourths. Take a yellow post it note with a line drawn on it and stick it next to C on the list of the cycle of fourths. Find every C on the fretboard. Play the C Major scale up and down and back up again from every C on the fretboard. Tomorrow, move the yellow post it to the next note on the list, and do it again. Every day move the post it one note and play that scale everywhere on the neck.
Lesson 7.
Learn the five forms of the Major scale in order as they lay out on the fretboard.
Major, Form 7/1:
|--7--|--1--|-----|--2--|-----|
|-----|--5--|-----|--6--|-----|
|-----|--2--|-----|--3--|--4--|
|-----|--6--|-----|--7--|-[1]-|
|-----|--3--|--4--|-----|--5--|
|-----|--7--|-[1]-|-----|--2--|
Major, Form 2:
|--2--|-----|--3--|--4--|-----|
|--6--|-----|--7--|--1--|-----|
|--3--|--4--|-----|--5--|-----|
|--7--|-[1]-|-----|--2--|-----|
|-----|--5--|-----|--6--|-----|
|-----|--2--|-----|--3--|--4--|
Major, Form 3/4:
|--3--|--4--|-----|--5--|-----|
|--7--|--1--|-----|--2--|-----|
|-----|--5--|-----|--6--|-----|
|-----|--2--|-----|--3--|--4--|
|-----|--6--|-----|--7--|-[1]-|
|-----|--3--|--4--|-----|--5--|
Major, Form 5:
|-----|--5--|-----|--6--|-----|
|-----|--2--|-----|--3--|--4--|
|-----|--6--|-----|--7--|--1--|
|-----|--3--|--4--|-----|--5--|
|-----|--7--|-[1]-|-----|--2--|
|-----|-----|--5--|-----|--6--|
Major, Form 6:
|--6--|-----|--7--|--1--|-----|
|--3--|--4--|-----|--5--|-----|
|--7--|--1--|-----|--2--|-----|
|-----|--5--|-----|--6--|-----|
|-----|--2--|-----|--3--|--4--|
|-----|--6--|-----|--7--|-[1]-|
Lesson 7a.
Learn to shift between adjoining Major scale forms.
Note how the two following forms glue together. The notes on the right side of Form 7/1 are the same as the notes on the left side of Form 2:
Major, Form 7/1:
|--7--|--1--|-----|--2--|-----|
|-----|--5--|-----|--6--|-----|
|-----|--2--|-----|--3--|--4--|
|-----|--6--|-----|--7--|--1--|
|-----|--3--|--4--|-----|--5--|
|-----|--7--|--1--|-----|--2--|
Major, Form 2:
|--2--|-----|--3--|--4--|-----|
|--6--|-----|--7--|--1--|-----|
|--3--|--4--|-----|--5--|-----|
|--7--|--1--|-----|--2--|-----|
|-----|--5--|-----|--6--|-----|
|-----|--2--|-----|--3--|--4--|
They glue together like this:
|--7--|--1--|-----|--2--|-----|--3--|--4--|-----|
|-----|--5--|-----|--6--|-----|--7--|--1--|-----|
|-----|--2--|-----|--3--|--4--|-----|--5--|-----|
|-----|--6--|-----|--7--|--1--|-----|--2--|-----|
|-----|--3--|--4--|-----|--5--|-----|--6--|-----|
|-----|--7--|--1--|-----|--2--|-----|--3--|--4--|
Start with the root/tonic/1, and play up and then slide over to the next scale form and play down.
Playing up:
|-14--|-15--|-----|-----|-----|-----|-----|-----|
|-----|-12--|-----|-13--|-----|-----|-----|-----|
|-----|--9--|-----|-10--|-11--|-----|-----|-----|
|-----|--6--|-----|--7--|--8--|-----|-----|-----|
|-----|--3--|--4--|-----|--5--|-----|-----|-----|
|-----|-----|--1--|-----|--2--|-----|-----|-----|
Slide over to the next position:
|-----|-----|-----|-16--|-----|-17--|-18--|-----|
|-----|-----|-----|-----|-----|-----|-----|-----|
|-----|-----|-----|-----|-----|-----|-----|-----|
|-----|-----|-----|-----|-----|-----|-----|-----|
|-----|-----|-----|-----|-----|-----|-----|-----|
|-----|-----|-----|-----|-----|-----|-----|-----|
Play down in the new position:
|-----|-----|-----|--2--|-----|--1--|(18)-|-----|
|-----|-----|-----|--5--|-----|--4--|--3--|-----|
|-----|-----|-----|--8--|--7--|-----|--6--|-----|
|-----|-----|-----|-11--|-10--|-----|--9--|-----|
|-----|-----|-----|-----|-13--|-----|-12--|-----|
|-----|-----|-----|-----|-16--|-----|-15--|-14--|
You can play up and over on the highest string and down, and then up and back over on the highest string and down.
You can play up and over on the highest string and down, and over on the lowest string and up again.
Look at the five scale forms and see how they connect together to create a continuous major scale pattern along the neck. Practice connecting each two scale forms together, and build up to be able to play up and over and down and over and up and over to zig zag your way up or down the entire fretboard connecting and playing every scale form.
For some reason I am stuck on sliding over always on the highest string. I go up and over and down, and up and over and down, and up and over and down, etc. Better players can slide either direction on any string. I can imagine practicing by picking a string to slide on. Play up to that string, slide over and keep playing up. Play down to that string and slide over again on that string and down. You could do that back and forth between two forms, or up or down the fretboard. Hey, that sounds like a good idea. I might try some of that.
You may have to spend some time working this out for your number of strings, and for each of the different connection points. Remember that even when you get better and faster at this, you have to continue to spend time doing it slowly and thinking about what you are doing. You will learn the fingering way faster than the actual scale knowledge. If you just learn the fingering, and then practice to get fast, you will never gain the understanding that comes from time looking at the charts and the fretboard and thinking about it, and playing it slowly.
Ok. One last thing. Playing the scales from the lowest fretted note on the fretboard up 12 frets and down again. For example, lets say that we are practicing in the key of E today, and we are playing a 4 string bass with E as the lowest string. The lowest fretted note on that bass in the key of E is the F on the fourth string and frist fret. This is the 2nd degree of the E scale. So, play the Form 2 major scale, starting on that F, and play up and shift to Form 3/4, and so on. Depending on the cutaway on your bass, you can play up the neck five form positions and back down again.
Another example. Say we are in the key of A today, playing a four string bass, with E as the lowest string. The lowest fretted note on that bass in the key of A is F# on the fourth string and the second fret. This is the 6th degree of the A scale. So, play the Form 6 major scale, starting on that F#, and play up and shift to Form 7/1, and so on up the neck.
If your lowest string is an E, you will be looking for F's, F#'s, and Gb's in your key as your lowest notes. If your lowest string is a B, you will be looking in your key for C's, C#'s, and Db's as your lowest notes. These are "movable" scale form shapes that connect together. We do not play the open strings.
.
Learn the five forms of the Major scale in order as they lay out on the fretboard.
Major, Form 7/1:
|--7--|--1--|-----|--2--|-----|
|-----|--5--|-----|--6--|-----|
|-----|--2--|-----|--3--|--4--|
|-----|--6--|-----|--7--|-[1]-|
|-----|--3--|--4--|-----|--5--|
|-----|--7--|-[1]-|-----|--2--|
Major, Form 2:
|--2--|-----|--3--|--4--|-----|
|--6--|-----|--7--|--1--|-----|
|--3--|--4--|-----|--5--|-----|
|--7--|-[1]-|-----|--2--|-----|
|-----|--5--|-----|--6--|-----|
|-----|--2--|-----|--3--|--4--|
Major, Form 3/4:
|--3--|--4--|-----|--5--|-----|
|--7--|--1--|-----|--2--|-----|
|-----|--5--|-----|--6--|-----|
|-----|--2--|-----|--3--|--4--|
|-----|--6--|-----|--7--|-[1]-|
|-----|--3--|--4--|-----|--5--|
Major, Form 5:
|-----|--5--|-----|--6--|-----|
|-----|--2--|-----|--3--|--4--|
|-----|--6--|-----|--7--|--1--|
|-----|--3--|--4--|-----|--5--|
|-----|--7--|-[1]-|-----|--2--|
|-----|-----|--5--|-----|--6--|
Major, Form 6:
|--6--|-----|--7--|--1--|-----|
|--3--|--4--|-----|--5--|-----|
|--7--|--1--|-----|--2--|-----|
|-----|--5--|-----|--6--|-----|
|-----|--2--|-----|--3--|--4--|
|-----|--6--|-----|--7--|-[1]-|
Lesson 7a.
Learn to shift between adjoining Major scale forms.
Note how the two following forms glue together. The notes on the right side of Form 7/1 are the same as the notes on the left side of Form 2:
Major, Form 7/1:
|--7--|--1--|-----|--2--|-----|
|-----|--5--|-----|--6--|-----|
|-----|--2--|-----|--3--|--4--|
|-----|--6--|-----|--7--|--1--|
|-----|--3--|--4--|-----|--5--|
|-----|--7--|--1--|-----|--2--|
Major, Form 2:
|--2--|-----|--3--|--4--|-----|
|--6--|-----|--7--|--1--|-----|
|--3--|--4--|-----|--5--|-----|
|--7--|--1--|-----|--2--|-----|
|-----|--5--|-----|--6--|-----|
|-----|--2--|-----|--3--|--4--|
They glue together like this:
|--7--|--1--|-----|--2--|-----|--3--|--4--|-----|
|-----|--5--|-----|--6--|-----|--7--|--1--|-----|
|-----|--2--|-----|--3--|--4--|-----|--5--|-----|
|-----|--6--|-----|--7--|--1--|-----|--2--|-----|
|-----|--3--|--4--|-----|--5--|-----|--6--|-----|
|-----|--7--|--1--|-----|--2--|-----|--3--|--4--|
Start with the root/tonic/1, and play up and then slide over to the next scale form and play down.
Playing up:
|-14--|-15--|-----|-----|-----|-----|-----|-----|
|-----|-12--|-----|-13--|-----|-----|-----|-----|
|-----|--9--|-----|-10--|-11--|-----|-----|-----|
|-----|--6--|-----|--7--|--8--|-----|-----|-----|
|-----|--3--|--4--|-----|--5--|-----|-----|-----|
|-----|-----|--1--|-----|--2--|-----|-----|-----|
Slide over to the next position:
|-----|-----|-----|-16--|-----|-17--|-18--|-----|
|-----|-----|-----|-----|-----|-----|-----|-----|
|-----|-----|-----|-----|-----|-----|-----|-----|
|-----|-----|-----|-----|-----|-----|-----|-----|
|-----|-----|-----|-----|-----|-----|-----|-----|
|-----|-----|-----|-----|-----|-----|-----|-----|
Play down in the new position:
|-----|-----|-----|--2--|-----|--1--|(18)-|-----|
|-----|-----|-----|--5--|-----|--4--|--3--|-----|
|-----|-----|-----|--8--|--7--|-----|--6--|-----|
|-----|-----|-----|-11--|-10--|-----|--9--|-----|
|-----|-----|-----|-----|-13--|-----|-12--|-----|
|-----|-----|-----|-----|-16--|-----|-15--|-14--|
You can play up and over on the highest string and down, and then up and back over on the highest string and down.
You can play up and over on the highest string and down, and over on the lowest string and up again.
Look at the five scale forms and see how they connect together to create a continuous major scale pattern along the neck. Practice connecting each two scale forms together, and build up to be able to play up and over and down and over and up and over to zig zag your way up or down the entire fretboard connecting and playing every scale form.
For some reason I am stuck on sliding over always on the highest string. I go up and over and down, and up and over and down, and up and over and down, etc. Better players can slide either direction on any string. I can imagine practicing by picking a string to slide on. Play up to that string, slide over and keep playing up. Play down to that string and slide over again on that string and down. You could do that back and forth between two forms, or up or down the fretboard. Hey, that sounds like a good idea. I might try some of that.
You may have to spend some time working this out for your number of strings, and for each of the different connection points. Remember that even when you get better and faster at this, you have to continue to spend time doing it slowly and thinking about what you are doing. You will learn the fingering way faster than the actual scale knowledge. If you just learn the fingering, and then practice to get fast, you will never gain the understanding that comes from time looking at the charts and the fretboard and thinking about it, and playing it slowly.
Ok. One last thing. Playing the scales from the lowest fretted note on the fretboard up 12 frets and down again. For example, lets say that we are practicing in the key of E today, and we are playing a 4 string bass with E as the lowest string. The lowest fretted note on that bass in the key of E is the F on the fourth string and frist fret. This is the 2nd degree of the E scale. So, play the Form 2 major scale, starting on that F, and play up and shift to Form 3/4, and so on. Depending on the cutaway on your bass, you can play up the neck five form positions and back down again.
Another example. Say we are in the key of A today, playing a four string bass, with E as the lowest string. The lowest fretted note on that bass in the key of A is F# on the fourth string and the second fret. This is the 6th degree of the A scale. So, play the Form 6 major scale, starting on that F#, and play up and shift to Form 7/1, and so on up the neck.
If your lowest string is an E, you will be looking for F's, F#'s, and Gb's in your key as your lowest notes. If your lowest string is a B, you will be looking in your key for C's, C#'s, and Db's as your lowest notes. These are "movable" scale form shapes that connect together. We do not play the open strings.
.
Lesson 8.
Assignment: Learn Diatonic Harmony.
Learn why the chord triads for a key are:
Major
minor
minor
Major
Major
minor
diminished
Learn why the 7th chords for a key are:
Major 7th
minor 7th
minor 7th
Major 7th
Dominant 7th
minor 7th
half-diminished 7th
Learn to create the scale, the chords, and the arpeggios for a key. Know the names of the notes in the key, know the function of the notes in the scale and in each chord and arpeggio. Know them by name and number.
For example, the 7th chords in the key of C:
CMaj7
Dmin7
Emin7
FMaj7
GDom7
Amin7
Bm7b5
For example, the notes of the C Major scale are:
C D E F G A B C
For example, the notes of the Dm7 chord are:
D is the root, F is the flat third, A is the fifth, and C is the flat seventh.
Learn why I write:
I ii iii IV V7 vi vii7b5
Search talkbass. Search the internet. Read music theory books. Post links here to internet lessons on this topic. No way am I going to attempt to explain this here when others have already done a fantastic job.
.
Assignment: Learn Diatonic Harmony.
Learn why the chord triads for a key are:
Major
minor
minor
Major
Major
minor
diminished
Learn why the 7th chords for a key are:
Major 7th
minor 7th
minor 7th
Major 7th
Dominant 7th
minor 7th
half-diminished 7th
Learn to create the scale, the chords, and the arpeggios for a key. Know the names of the notes in the key, know the function of the notes in the scale and in each chord and arpeggio. Know them by name and number.
For example, the 7th chords in the key of C:
CMaj7
Dmin7
Emin7
FMaj7
GDom7
Amin7
Bm7b5
For example, the notes of the C Major scale are:
C D E F G A B C
For example, the notes of the Dm7 chord are:
D is the root, F is the flat third, A is the fifth, and C is the flat seventh.
Learn why I write:
I ii iii IV V7 vi vii7b5
Search talkbass. Search the internet. Read music theory books. Post links here to internet lessons on this topic. No way am I going to attempt to explain this here when others have already done a fantastic job.
.
Mike, please let me know if you want me to make changes or edits to my posts or charts or lessons. You are good at being specific and consistent with your music theory vocabulary, so please feel free to be picky. This is your forum.
Ok, if we follow the 8 lessons, we should know the five (six) major scale forms, the five (six) Maj7th arpeggios, the five (six) Dom7th arpeggios, the five (six) min7th arpeggos, and the five (six) m7b5 arpeggios. (The reason I say (six) is there are three second/first finger forms, and three fourth finger forms, but two are identical except for the starting point.) And we should be able to write down all the chords or arpeggios for a key.
Enough of the mechanical learning. We are now ready for Mike to teach us how to use these together, within one scale form, in one key, in one position on the neck, and maybe slide up or down one position, in a musical context.
Ok, if we follow the 8 lessons, we should know the five (six) major scale forms, the five (six) Maj7th arpeggios, the five (six) Dom7th arpeggios, the five (six) min7th arpeggos, and the five (six) m7b5 arpeggios. (The reason I say (six) is there are three second/first finger forms, and three fourth finger forms, but two are identical except for the starting point.) And we should be able to write down all the chords or arpeggios for a key.
Enough of the mechanical learning. We are now ready for Mike to teach us how to use these together, within one scale form, in one key, in one position on the neck, and maybe slide up or down one position, in a musical context.
Take it away Mike...TheChris said:
Phenomenal Tim, just... wow.
You've done us all a great favour.
Someday I'll actually understand what you wrote.
And don't worry, there will be questions.
So, take it away Mike.
How do you feel about Tim's lessons? Would you make any changes or put a different emphasis on some aspects?
You've done us all a great favour.
Someday I'll actually understand what you wrote.
And don't worry, there will be questions.
So, take it away Mike.
How do you feel about Tim's lessons? Would you make any changes or put a different emphasis on some aspects?
Please realize that this is not intended to be an exhaustive study of every scale and arpeggio that one might encounter while playing musical charts. My thinking on the intention of this thread is to get us from practicing scales and arpeggios like a machine to using scales and arpeggios to actually play tasteful original music. The path we are on uses five forms of the Major scale in "close" fingering, and the seven arpeggios from the Major scale, which is actually four different arpeggios, the Maj7th, min7th, Dom7th, and m7b5.
In a rock or pop context, this would be only three different arpeggios, the Maj, min, and diminished. I did not cover these triad based arpeggios that do not contain the 7th degrees. You can copy the arpeggios, delete the upper lines if you have a four or five string bass, overwrite the sevens with hyphens, and you are good to go.
We have now created a toolbox that is a subset of the total number of scale modes or arpeggo types that are available to us, but it is a complete set of tools based on Major scale and the Major scale chords and arpeggios as defined by diatonic harmony. We have created a bicycle with training wheels. We can learn how to ride with this setup, but we realize there is more out there to learn when we take the training wheels off.
I just wanted to point this out in an attempt to reduce some confusion that some may create by pointing out that there are other scales, modes, chords, and arpeggios. If you are an advanced player, please understand that we are learning, and please offer more help and encouragement than criticism.
Thank you,
Tim99.
In a rock or pop context, this would be only three different arpeggios, the Maj, min, and diminished. I did not cover these triad based arpeggios that do not contain the 7th degrees. You can copy the arpeggios, delete the upper lines if you have a four or five string bass, overwrite the sevens with hyphens, and you are good to go.
We have now created a toolbox that is a subset of the total number of scale modes or arpeggo types that are available to us, but it is a complete set of tools based on Major scale and the Major scale chords and arpeggios as defined by diatonic harmony. We have created a bicycle with training wheels. We can learn how to ride with this setup, but we realize there is more out there to learn when we take the training wheels off.
I just wanted to point this out in an attempt to reduce some confusion that some may create by pointing out that there are other scales, modes, chords, and arpeggios. If you are an advanced player, please understand that we are learning, and please offer more help and encouragement than criticism.
Thank you,
Tim99.
