Which Scale First?

[0LDn00b]

I've looked at a few different method books and they don't seem to agree on which scale or key to learn first. I have a good grounding in theory (piano too many years ago) so reading in the key of Cmaj or E#min or anything between is a non issue for me.
BUT...
Doors - Riders on the Storm: Manzarek composed a bass line on the keyboard so easy my cat could play it, but Scheff had to go through "machinations" to play it on the bass.

So my question is, are any scales or key signatures physically harder to play on the bass or is this story more related to the shift between Emin and Amaj chords? Is there any rough consensus ranking scales from easiest to most difficult?

 

[SteveCS]

So my question is, are any scales or key signatures physically harder to play on the bass or is this story more related to the shift between Emin and Amaj chords? Is there any rough consensus ranking scales from easiest to most difficult?

Sometimes the keys and scales that allow the use of open strings can be percieved as easier on the hands. I guess in some ways they are as they create time for shifting. But in practice, more contrast in difficulty arises from register rather that any specific key. Playing on a keyboard is the same in all registers - any given interval in one register has the same physical arrangement as the same interval in any other register. On strings, and in particular 'big' strings like bass guitar and double bass, a minor 3rd at the low end creates a totally different set of physical challenges in terms of spacing, angles and pressures to those of the same minor third 2 or 3 octaves higher.

 

[ebo]

Learn scales involving open strings. If a song is transposed and fingerings then involve open strings it throws me sometimes, especially if I’ve drilled the song in my head without them. Keeping a five string within reach can help.

 

[George Dennis]

If I was starting again, I'd focus my efforts on nailing chord tones (I iii V etc) for common modes rather than memorising individual chromatic scales per ce. This is because scale patterns on the bass fretboard are the same regardless of the key with all strings tuned in perfect 4ths (this includes 5- and 6-string basses)
Learning this way, you just need to know where your "I" (or "i") is - then find the triads.
Eg. Ionian (Major): I iii V, ii IV vi, iii V vii', IV vi I, etc...
The "trap for young players" is to wisely choose the fretting finger for the "1":
Middle finger = Major (Mixolydian, Ionian & Lydian)
Pointer = minor and diminished (everything else)
What you've said indicates a strong grasp of theory so I haven't gone into any detail about chord tones and the use if Roman numerals, but happy to direct you to some sites as there are plenty of resources out there.
(I understand the Doors did quite a few songs in Dorian which requires the most fretboard gymnastics of any mode).

 

[bassGtar]

I've looked at a few different method books and they don't seem to agree on which scale or key to learn first. I have a good grounding in theory (piano too many years ago) so reading in the key of Cmaj or E#min or anything between is a non issue for me.

Do people actually write music in the key of E#minor. Personally, I’d avoid keys with 8 sharps in the Sig, at least until later.

 

[AngelCrusher]

Learn the major scale. Every key and mode of it. That teaches you so much about harmony right there.

 

[Just go for it]

All you need

 

[cnltb]

All you need

View attachment 4838231

NOT all you need!

I'd very much include the harmonic minor and melodic minor scales in the round up.

 

[SteveCS]

Do people actually write music in the key of E#minor. Personally, I’d avoid keys with 8 sharps in the Sig, at least until later.

I think @0LDn00b was making the point that he/she knows all the signatures and notes in all the keys but is just new to electric bass.

 

[SLPimp]

Short scale.

 

[mambo4]

@SteveCS 's observation about the physical demands of fretting closer to the nut is a great point. For me, I would add that non diatonic scales such as the 8 tone diminished or augmented scale can be challenging simply due to lack of familiarity.

One also should consider how they think of a scale: is it a fingering pattern locked into a 4 fret "box"? If so then you might find something like Dorian more challenging. But if you adopt the approach outlined in pacman's' sure fire scale practice method you start thinking of the scale accross the whole fretboard, independent of any boxes, and discover new opportunities for fingering, which opens up more physical choices you can use in response to "difficult" scales.

 

[AGCurry]

It doesn't really matter which you do first, but in terms of easier-to-harder:

Major keys, in order: F, Bb, G, D, C, Eb, A, Ab, E, Db, B, Gb, F#, Cb, C#
Minor keys, in order: Dm, Gm, Em, Bm, Am, Cm, C#m, Bbm, G#m, Ebm, D#m

Try two octaves for each.
Obviously, some of these are the same to play whether flat or sharp. The keys with fewer flats or sharps are more likely to be useful in the real world.

 

[Kevin Hailey]

It doesn't really matter which you do first, but in terms of easier-to-harder:

Major keys, in order: F, Bb, G, D, C, Eb, A, Ab, E, Db, B, Gb, F#, Cb, C#
Minor keys, in order: Dm, Gm, Em, Bm, Am, Cm, C#m, Bbm, G#m, Ebm, D#m

This is complete nonsense! In order? In order of what?
Following the cycle of 4ths/5ths gives a logical framework for learning key signatures.
The difficulty of something is largely a function of familiarity, or lack thereof.
Having said that I’ll make a exception for E#-

Try two octaves for each.
Obviously, some of these are the same to play whether flat or sharp. The keys with fewer flats or sharps are more likely to be useful in the real world.

 

[SteveCS]

It doesn't really matter which you do first, but in terms of easier-to-harder:

Major keys, in order: F, Bb, G, D, C, Eb, A, Ab, E, Db, B, Gb, F#, Cb, C#
Minor keys, in order: Dm, Gm, Em, Bm, Am, Cm, C#m, Bbm, G#m, Ebm, D#m

Try two octaves for each.
Obviously, some of these are the same to play whether flat or sharp. The keys with fewer flats or sharps are more likely to be useful in the real world.

99.999% of the time I would agree with this. But the reasons for it - progressive introduction of additional and more complex accidentals whilst also learning to read and learning to play do not apply to the OP, who already knows the theory and already reads for the purposes of playing another instrument. That said, it is as good a sequence as any, so why not?

 

[dbsfgyd1]

Do people actually write music in the key of E#minor. Personally, I’d avoid keys with 8 sharps in the Sig, at least until later.

More than a few guitar based songs in E minor. But to your point, I don’t think they much cared about all the sharps…LOL!! Funny now that you mentioned it, I don’t recall a lot of horn accompaniment on them either….

 

[SteveCS]

...
This is complete nonsense! In order? In order of what?
...

In order of progressive introduction of accidentals - 1b, 2b, 1#, 2#, etc, and relative minors. It is close to the order used by pretty much every formal music education institution and examination board, and far from nonsense.

 

[LetItGrowTone]

Apologize in advance:
Pentatonic minor should come first, as every other note is "outside" flavoring, to be used in moderation.

 

[BassyBill]

I've looked at a few different method books and they don't seem to agree on which scale or key to learn first. I have a good grounding in theory…

No, you don’t.

It really doesn’t matter which order you learn stuff in. It’s far more important that the learning is meaningful and continuous. I would suggest the first step is “know what you don’t know”, I.E. immerse yourself in the subject to give you a more accurate perception of where you currently are and what you need to do next.

A good teacher would help immensely. Or, maybe, further piano lessons.

 

[Kevin Hailey]

In order of progressive introduction of accidentals - 1b, 2b, 1#, 2#, etc, and relative minors. It is close to the order used by pretty much every formal music education institution and examination board, and far from nonsense.

Well now I'm embarrassed for my bonehead reply. Apologies to AGCurry.

 

[JimmyM]

Major scale first, chromatic second, pentatonic and blues scales third. More important than any scale is learning chord formation, and the first two mentioned scales are the building blocks of chords. The other two give you the building blocks for figuring out parts to a major amount of songs or creating your own songs and parts. Everything else to me is gravy. Good idea to learn as much as you can, but those would be my priorities starting out.