scale shapes

[tonemachine]

There is a DEAD EASY way of learning the major scale (and all its modes). After years of avoiding the hassle of memorizing all the many apparent shapes for these scales, I stumbled across an approach that had me learn all the modes, mentally, in about 10 minutes. About an hour with this four-note, pattern-based approach I had all the modes in my fingers. I now have total freedom over the entire neck when soloing or improvising supportive bass lines. To the point I don't have to think about it much.

Basically, you learn 4 note "tetrachords". To create any of the modes, you simply stack two tetrachords together.

Here is the major tetrachord, for a G major scale
E
D
A x|B|C|x|
E x|x|G|x|A

To create a full, 8-note major scale, you stack two of these major tetrachords on top of each other, separated by a whole step. See how this works below, with the first major tetra chord we did above in italics, and the second major tetrachord in bold. Notice how each major tetrachord is EXACTLY the same pattern/shape.

E
D x|x|x|F#|G|x
A x|B|C|x |D|x|E|
E x|x|G|x |A

Essentially, you boil down all 7 modes to four, four-note patterns you string together in pairs. And the patterns are so easy, four of the patterns are exactly the same tetrachord stacked on top of itself.

If you or anyone finds this approach useful, let me know and I will share the other 3 tetrachord shapes and how to put them together to create the dorian, phrygian, mixolydian, lydian, aeolian and locrian scales. It is DEAD EASY!!!

I read your later posts going back and forth with rocktometrist and agree that (m)any perspective(s) is/are good. After looking for 2 minutes, and relatively fully understanding nomenclature and modes/scales/patterns, I can't make heads or tails of your charts above and the first thing that comes to mind is "is the far left column supposed to be the nut notes GDAE or what? You have EDAE so I stopped shortly thereafter before I try going down a trail I can't get out of. And is "major" tetrachord used to mean "tonally major" or, rather, "prominent/primary" because you haven't mentioned "minor tetrachord" so we have nothing to compare major to. I'd like to see the full menu of what you are presenting so that I can get a better chance of grasping it all. Thanks.

 

[PauFerro]

Sorry -- clerical work is not my strong suit. I use editors and people with an eye for little mistakes to proof read stuff for me, whenever such people are available. And I tend to think in concepts. I corrected the EADG labels, as I had inadvertently written EADE in error. This is what the nomenclature looks like below. I simply kept doing what someone in a previous post did. This was the most expeditious way of making this happen using the keyboard and no graphical design tools.

G
D
A x|B|C|x|
E x|x|G|x|A

So, in the example above, the E at the bottom of the diagram is the open e-string. The first X on the e-string line is F, the next one is F#, and the G is the G on the third fret of the e-string -- the fact that it is a G, and not an X means it's a note you playl. Stack the same tetra chord shape I have given here on top of this one, starting on D on the A string, and you have a full major scale by learning only a four-note shape. The result is this..two major tetra chords stacked on top of each other, a tone apart.

G
D x|x|x|F#|G|x
A x|B|C|x |D|x|E|
E x|x|G|x |A

And is "major" tetrachord used to mean "tonally major" or, rather, "prominent/primary" because you haven't mentioned "minor tetrachord" so we have nothing to compare major to. I'd like to see the full menu of what you are presenting so that I can get a better chance of grasping it all. Thanks.

Yes, there are three other tetrachords. Here is the second one explained.

Minor tetrachords are like the shape below. Don't mind the starting note -- it is the shape that matters, and it is the same no matter where you start on a bass that is tuned EADG...

G
D
A X| X| C|X |X
E X | X|G |X| A| Bb

So, to create a G Mixolydian scale you stack a minor tetrachord on top of a major tetrachord. The major tetrachord starts on G, and the minor tetrachord starts on D.


G
D X| X| X |X|G
A X| B| C|X |D|X|E|F
E X | X|G |X| A|

To address what "major means" I haven't decided how to name these things. I think a better naming convention would be to use Ionian as the first "major shape" and dorian as the second, "minor shape". So, the mixolydian scale is Ionian - whole step- Dorian using this modified language.

 

[tonemachine]

Sorry -- clerical work is not my strong suit. I use editors and people with an eye for little mistakes to proof read stuff for me, whenever such people are available. And I tend to think in concepts. I corrected the EADG labels, as I had inadvertently written EADE in error. This is what the nomenclature looks like below. I simply kept doing what someone in a previous post did. This was the most expeditious way of making this happen using the keyboard and no graphical design tools.

G
D
A x|B|C|x|
E x|x|G|x|A

So, in the example above, the E at the bottom of the diagram is the open e-string. The first X on the e-string line is F, the next one is F#, and the G is the G on the third fret of the e-string -- the fact that it is a G, and not an X means it's a note you playl. Stack the same tetra chord shape I have given here on top of this one, starting on D on the A string, and you have a full major scale by learning only a four-note shape. The result is this..two major tetra chords stacked on top of each other, a tone apart.

G
D x|x|x|F#|G|x
A x|B|C|x |D|x|E|
E x|x|G|x |A



Yes, there are three other tetrachords. Here is the second one explained.

A minor tetrachord is this shape below. Don't mind the starting note -- it is the shape that matters, and it is the same no matter where you start on a bass that is tuned EADG...

G
D
A X| X| C|X |X
E X | X|G |X| A| B

So, to create a G Mixolydian scale you stack a minor tetrachord on a major tetrachord.


G
D X| X| X |X|G
A X| B| C|X |D|X|E|F
E X | X|G |X| A|

I haven't decided how to name these things. I think a better naming convention would be to use Ionian as the first "major shape" and dorian as the second, "minor shape". So, the mixolydian scale is Ionan - whole step- Dorian using this modified language.

Dude, you're killing me! I believe you just stacked two of the same tetrachords to make the G Mixolydian but said it was major/minor! Edit: nevermind. Those charts are just hard to read in this format! Edit again: your minor tetrachord example should be G/A/Bb, not B. You seem to have B written on the Bb fret. Man, that's what threw me.

Okay, we have two tetrachords. What are the other two? I'm guessing that one is gonna look like 1,2,4,1 (like efga played 2nd fret of D and G strings, for instance. I'm a conceptual learner, too. Get it all out there.

So when you think "I'm gonna do something Mixolydian"you don't just have a pattern memorized but, instead think "that's x and y stacked."
That part seems cumbersome but I do like how it makes one think up the neck rather than across the neck! Like was mentioned earlier, across the neck can be limiting and up and down the neck opens way more ideas. Thanks for posting....don't forget the rest of this tetrachords stuff

 

[Buzz E]

Dude, you're killing me!

I lol'ed!

 

[tonemachine]

I lol'ed!

Haha. My head is spinning. Great concept gone haywire!!!!

Time for Blackhawks hockey.. Get this craziness sorted out by tomorrow Pau!

 

[PauFerro]

Dude -- you're killing ME!!!!

You quoted it before I was done editing it!!! Honestly, I must've posted it, read it, and corrected my error, and you quoted me between edits. You need to give me a few minutes before you go quoting detail-ridden stuff like this -- look again. It should make sense!!!

And I made the edits before I read your post above.

I need someone like you to edit my stuff!!!

 

[Rocktometrist]

Different strokes for different folks (meant sincerely), but I think I'd have MORE trouble remembering which way the tetrachords stack to make a common scale that I would just learning the whole 8-note scale in the first place. For me the tetrachord concept just adds another layer of complexity (but people obviously learn differently, so that might just be me).

Also, while I agree moving up and down the neck is valuable (and strictly pattern playing is limiting), starting out by learning standard scales that go across the neck has the crucial benefit of avoiding unnecessary position shifting in the left hand. In turn, that makes it easier to quickly identify where the scale degrees are, since they're all under your hand without moving it around and resetting positions (which could cause a beginner to lose their bearings, and is just physically harder to learn how to do). After you have a "standard" scale that spreads over 4 or 5 frets with efficient hand movement under your fingers, then by all means learn alternate fingerings and start experimenting with different ways to quickly get up and down the neck. There is no way I'd want to teach a beginner, as his first experience with mixolydian, that they have to bridge a 5-fret gap in order to go from tonic to minor seventh--especially when it's available right there at the same fret. All just my opinion, of course...

 

[PauFerro]

I have been a music teacher over the years. And I am a full-time teacher by trade in business, math, psychology, project management, computer science (for the last 20 years), so pedagogy and making learning fast and progressive, early, is something I build into any lesson I teach.

There were certain musicians who loved patterns, and the idea of stacking four tetrachords was a huge boon for them. For some, it was the only way they got freedom on the neck. For some reason, a single-position major scale wasn't sufficient.

Here are the stacked tetra chords that match the modes.

Ionian: Ionian-Whole Step* - Ionian
Dorian: Dorian-Whole Step - Dorian
Phrygian: Phrygian-Whole Step - Phrygian
Lydian: Lydian-Half Step -Ionian
Mixolydian: Ionian- Whole Step - Dorian
Aeolian: Dorian- Whole Step - Phrygian
Locrian: Same as the Ionian scale, but start a semi-tone below it.

* Each mode has a whole step between tetrachords, except for the Lydian and Locrian -- the ones that start with 'L'. And for the Locrian it's a non-issue if you visualize it as an Ionian scale that starts a half-step lower than the initial starting note of the Ionian scale.

Note - -when I say the Ionian SCALE, I mean the 8 notes that make up that scale (if you start and stop on the root). When I say the Ionian TETRA CHORD, I mean the first four notes of the Ionian SCALE.

So, you can learn six of the seven modes with knowing only three, four note patterns, starting at any position on the neck. I also have learned to associate these modes with certain chord progressions.

Plus, I find that because these shifts require me to go all over the neck, when the key center of the song changes, I end up already at one of the modes within the new center, and I can see its note patterns instantly.

If learning a single major scale works for people, then go for it, but I find there are a lot of uses for the modes....beyond simply learning the major scale.

Regarding shifting, one of the best books I have used to teach students is the Hal Leonard series, and early in the book, they teach you how to shift positions. I don't see it as a big deal -- I see it as getting the beginner to advance more quickly with a minimum of pain. Shifting isn't a big deal, really...

 

[PauFerro]

Okay, we have two tetrachords. What are the other two?

I'm not saying ANYTHING until I have a chance to do this properly and without self-imposed time pressure, in more visual, less error-prone, more standard formatting. Plus I've had a few cats write to me privately and ask for the full explanation of stacked tetra chords. So I want to do it right.

Tonemachine -- I hear your frustration and I'm afraid if i just shoot from the hip, I will tick everyone off in case there are errors I cannot see after I press Save Changes. if you go back to my previous posts, I corrected those two errors you pointed out. Should make sense (unless there is more stuff I couldn't see in error, there).

I am a "serial" course developer in my work, at times. And even though I create business courses, we always have an editor go through our writing to correct for errors. Even in that professional, paid context, our managers don't hold us accountable for typos like the ones you point out. This because, in their words, "the course developers can't see errors until they let it rest a few days and then do a hard-copy edit -- and we don't have time for that". They let the editors do it the day after we write material.

Anyway, stay tuned, I will see if I can put something basic together when I get a chance, for posting in this thread or sending in some kind of file format.

If you private message me, I could send you a PDF or something with what I create (maybe tonemachine could be my proof-reader ).

 

[tonemachine]

I'm not saying ANYTHING until I have a chance to do this properly and without self-imposed time pressure, in more visual, less error-prone, more standard formatting. Plus I've had a few cats write to me privately and ask for the full explanation of stacked tetra chords. So I want to do it right.

Tonemachine -- I hear your frustration and I'm afraid if i just shoot from the hip, I will tick everyone off in case there are errors I cannot see after I press Save Changes. if you go back to my previous posts, I corrected those two errors you pointed out. Should make sense (unless there is more stuff I couldn't see in error, there).

I am a "serial" course developer in my work, at times. And even though I create business courses, we always have an editor go through our writing to correct for errors. Even in that professional, paid context, our managers don't hold us accountable for typos like the ones you point out. This because, in their words, "the course developers can't see errors until they let it rest a few days and then do a hard-copy edit -- and we don't have time for that". They let the editors do it the day after we write material.

Anyway, stay tuned, I will see if I can put something basic together when I get a chance, for posting in this thread or sending in some kind of file format.

If you private message me, I could send you a PDF or something with what I create (maybe tonemachine could be my proof-reader ).

I was just teasing you, if that wasn't clear! I edit stuff all the time but, yeah, notation of any sort is important to not rush out! But I understand your doing so yesterday when the efficacy of tetrachords was being questioned!

Haha, I am a great proof-reader for people at work, and if I know what the material is. We'll trust that you'll nail it this time!

 

[Rocktometrist]

If learning a single major scale works for people, then go for it, but I find there are a lot of uses for the modes....beyond simply learning the major scale.

To be fair, I don't think anybody said a person should learn a single major scale, and then stop learning because they know everything there is to know (I certainly didn't). My point is that learning a simple major scale is a very good FIRST FUNDAMENTAL STEP in the learning process--and one that sets an important musical baseline from which the other modes can be built and compared.

I've taught lessons, too, and personally would be concerned that throwing a bunch of Greek words, position shifting techniques, and theoretical concepts at someone who doesn't yet know how to play a major scale would be intimidating enough to scare them off playing music altogether. I'd also be concerned that without laying out the basic fundamentals of Western diatonic music as a first step, I'd be setting them up for failure. Crawl-->walk-->run works for just about everybody. Learning what a major scale sounds like (and learning to play one) as an early first step just seems like common sense to me. Your mileage apparently differs. I can live with that.

 

[Mushroo]

Doe, a deer, a female deer.
Ray, a drop of golden sun...

 

[PauFerro]

To be fair, I don't think anybody said a person should learn a single major scale, and then stop learning because they know everything there is to know (I certainly didn't). My point is that learning a simple major scale is a very good FIRST FUNDAMENTAL STEP in the learning process--and one that sets an important musical baseline from which the other modes can be built and compared.

I'm fine with that. I'd probably send them away from the first lesson learning how to do the Ionian-Ionian tetra chord approach, and work through it in the context of a simple chord progression that fits the scale, or some song they are excited about that works.

 

[PauFerro]

Here is a lesson on the Dorian, Phrygian and Aeolian scales using the stacked tetra chord approach. Best if tonemachine looks it over for clerical errors first! (just kidding, no I'm not, yes I am, no I'm not).

 

[Spin Doctor]

Here is a lesson on the Dorian, Phrygian and Aeolian scales using the stacked tetra chord approach. Best if tonemachine looks it over for clerical errors first! (just kidding, no I'm not, yes I am, no I'm not).

This looks interesting... Thanks for the effort!

 

[mambo4]

Interesting approach. I'm sure most students first learn the patterns for modes in a 4 fret span.
I suppose it might help things 'click' for some, but It strikes me as a lot of extra information.
I've always been a fan of seeing modes as simple alterations of the intervals of a major scale.

But then again, I'm generally "against" using modes for most situations...

 

[PauFerro]

But then again, I'm generally "against" using modes for most situations...

Why?

 

[mambo4]

Why?

I'm not saying people shouldn't learn/know/fiddle with modes. They are fun to fiddle with, and knowledge is good.

But there just aren't many practical situations where you actually have to "think" in modes.
It's generally much more useful to be think in chord tones, passing tones, stylistic motifs, and using your ear.

Just my experience.

 

[PauFerro]

I'm not saying people shouldn't learn/know/fiddle with modes. They are fun to fiddle with, and knowledge is good.

But there just aren't many practical situations where you actually have to "think" in modes.
It's generally much more useful to be think in chord tones, passing tones, stylistic motifs, and using your ear.

Just my experience.

For me, they are highly useful because I use the major Key Center concept to solo over jazz changes. I have found I can interpret most sets of changes as stretches of a major scale. For example, Ladybird, a jazz standard, is about 16 bars long. The chords change almost every single bar; sometimes twice in the same bar. But I can boil that song down to four major key centers with major scale stretches lasting 2-4 bars long each. This means i don't have to think in detailed, chord tones after doing a bit of analysis to determine the key centers. I can think in long stretches of a major scale.

When I am in a specific key center, I find the modes (expressed as stacked tetra chords) provide me with patterns I can then transpose all over the neck to create tension in the solo. Also, when the key center changes, I can visualize instantly the new, relevant mode that applies. I can also associate a scale with a chord at times, when there is a chord hanging out there for a bar...

Anyway, we all come to truth by different paths, but I will say again, learning stacked tetra chords was a major breakthrough in my ability to transverse the neck from top to bottom. And it provides a structure for creating licks, as I classify them as belonging to a specific mode. When I have time, I would like to create a riff book organized by mode...dorian riffs, phyrigian riffs, etcetera.

 

[Sav'nBass]

To reinforce the point: I'm a gigging jazz musician, and regularly get called for gigs where I've never met the other musicians or heard any of the tunes (sometimes they're originals). I show up at the gig, read some charts (or use my ear if the changes are simple), get paid, and go home. And you know what? I've never had the slightest use for tetrachords. For me, knowing scales and arpeggiations gets me where I need to be. And, yes, knowing basic scale patterns is hugely beneficial to me. When I play walking lines, I choose a scale I want to play over the chord on the fly, and because I know patterns, I immediately know where each scale degree is under my fingers (and, of course, I use my ear to create interesting passing and leading tones). No fuss, no muss. No constant evaluation of thoeretical mumbo-jumbo or overly-complicated fingering schemes. Just simple tools that get out of the way and allow me to focus on making music.

I would agree, though, that at early stages in your learning, picking an approach that makes sense to you and running with it is key. If you start getting pulled in a million directions, that just gets confusing. Learning a major scale backwards and forwards is a very good place to start.

This is a phenomenal example of what I'm talking about. Rocktometrist has an impressive pedigree in bass playing, and for me, has qualified himself as an authority on the subject of music.

But he has never had the slightest use for tetrachords. In his mind, they are unnecessary for the list of convincing reasons he has given.

I too am a gigging jazz musician. I too have had to show up and play charts that people throw at me, but for me, tetrachords were a major (no pun intended) breakthrough in unlocking my potential and boosting my confidence on the fretboard. I also play with some of the top players in town. Often, they will ask me to play a vanity tune (a tune they just want to do) and I have to play off it, and even take a solo if they look at me. So, I play a lot too.

I think each method is right for each of us. In fact, Rocktometrist believes that knowing a major scale frontwards and backwards and upside down it a great exercise. I would argue that understanding it from multiple perspectives, including a modal, tetrachord perspective. provides even greater confidence and skill than learning it from one solitary perspective -- in my opinion.

I have also found that knowing the modes has helped me in the following ways:

1. I was in a rehearsal, and a musician, when explaining unwritten riffs we needed to play in unison, would express them according to their mode. "It's phrygian on F" he would say. I knew exactly what he meant.

2. I could associate modes with chords -- Dorian works well over minor seventh chords, I have found. Mixolydian over Dominant 7ths. Aeolian on chords built on the sixth degree of a specific key center I might be in.

3. The modes, expressed as tetrachords, gave me a lightening fast way of learning the modes, and thus, understanding musical concepts from a variety of perspectives. I swear by them as learning the major scale in isolation didn't work for me -- for years.

In fact, I'm thinking of seeing if there are easy patterns for learning the pentatonic modes now....not sure -- I use the pentatonic scale a lot on the first and fifth degree of the major scale, and the minor pentatonic on different chords within a key center (sort of unconsciously, I need to formalize what I do). This tetrachord concept will be the first place I go to, in order to explore a more formal way of using those scales that fits a language and approach that makes me start shaking with excitement every time I consider it

Great posts.. and i just had this kind of moment about a month ago.. where it all clicked in my head..

There were two things that highlighted my road to understanding modes and finding where to put them in my head, because at the end of the day that is what it's all about. Getting it into your own head .. so that you can understand it if you do not have someone to guide you.

As a side note.. Because of the internet.. we are swamped with information about anything bass.. a new aspiring bassist can find stuff that 40 years ago would have cost someone who was not fortunate enough to have musicians around him (relatives friends etc) a lot of money either through lessons or books.. Today there is more free stuff available on the internet ... TB being a perfect example.. so as to give any aspiring bassist (musician period but since we do the down low... ) more information than he can handle without guidance. so that aspiring bassist has to find out where to put what he/she finds in their head in a way that makes sense to them and that will be an evolving point according to where they are in their learning.

For me .. one was the Bass Grimoire, which was the first time I even heard of modes.. but I could not tie it in.. It did not click.. Then I saw this video..

.. and the wheels started to clicking. I then revisited the Grimoire .. and I realized that if you look at modes as extensions of scales then they become more meaningful.. A G# Phrygian is an extension of the E ionian scale..

That's why I made those charts for my own use so that I would have something in front of me that tied it all in..