Please note: The page numbers correspond with the TOC and NOT the Acrobat program numbers.

FORWARD

Scott Hubbell has written the definitive book on extended and diagonal fingerings. If youare serious about being a player then the concepts presented here are a must. This bookwill change the way you look at your bass. The change will come quickly, and it will benoticeable. The concepts in this book will challenge the way you have approached thebass and open up new options for everything that you play. You will “see” the fretboardin a new light, and your creativity will soar.

I remember the day in 1980 that I discovered the concept of extended and diagonalfingerings. It came in the form of a challenge: “play a two octave major scale withoutshifting positions!” On my trusty 4 string, I could not see it. I could not think “out of thebox.” The day that the answer hit me was an epiphany. I remember it clearly becausefrom that moment on, my playing was forever changed. For the first time the fretboardopened up to me. As I experimented with the concept, new and exciting musical ideasbegan to surface. My self-imposed limitations began to disappear. I became less of a bassplayer and more of a musician. As I took the techniques past scales and modes and intoarpeggios, I found it easy to reach the upper chord extensions. My playing became moresophisticated, more melodic, and more musical.

Before I found extended and diagonal fingerings, I approached the bass vertically. Istayed in one position, and I played one finger per fret. I based my lines off of the majorscale or blues scale. My lines were old and predictable. I knew certain scales and modesin certain positions on the neck. The neck was divided up into areas that were reservedfor a particular key, lick, or pattern. There was not the fluidity of a piano or a saxophone.Extended and diagonal fingering changed all that. Many of the great players use it. Somebooks have hinted at it. Scott Hubbell has defined it. Now you can own it

Michael Dimin

Michael Dimin is a respected bassist, educator, author, composer, and clinician. Hisbook The Chordal Approach, is considered by many to be THE book on chord theoryand harmony. His beautiful arrangements and stellar playing can be heard on his debutrelease, Big Droppins. Both are available for purchase at www.michaeldimin.com.

Table of Contents

SECTION I: Introduction / extended fingerings…………………………………………… 1 Major Scale and Modes………………………………………………………………….. 3 Ionian …………………………………………………………………………………… 5 Dorian…………………………………………………………………………………… 6 Phrygian………………………………………………………………………………… 7 Lydian ………………………………………………………………………………… 8 Mixolydian …………………………………………………………………………… 9 Aeolian …………………………………………………………………………….…. 10 Locrian ……………………………………………………………………………….. 11 Melodic Minor Scale and Modes ……………………………………………………… 12 Melodic Minor ……………………………………………………………………….. 13 Dorian b2 ……………………………………………………………………………… 14 Lydian Augmented ……………………………………………………………………. 15 Lydian Dominant …………………………………………………………………….. 16 Mixolydian b6 ………………………………………………………………………… 17 Locrian 2 ……………………………………………………………………………… 18 Super Locrian ………………………………………………………………………… 19 Harmonic Minor Scale and Modes …………………………………………………….. 20 Harmonic Minor ……………………………………………………………………… 21 Locrian 6 …………………………………………………………………………….. 22 Ionian Augmented …………………………………………………………………….. 23 Dorian #4 ……………………………………………………………………………… 24 Phrygian Dominant …………………………………………………………………… 25 Lydian #2 ……………………………………………………………………………... 26 Altered bb7 …………………………………………………………………………… 27 Major Pentatonic Scale and Modes ……………………………………………………. 28 Major Pentatonic ………………………………………………………………….…. 29 Pentatonic Type 2 ……………………………………………………………………. 30 Pentatonic Type 3 ……………………………………………………………………. 31 Pentatonic Type 4 ……………………………………………………………………. 32 Minor Pentatonic ……………………………………………………………………… 33SECTION II: Diagonals ………………………………………………………………… 34 Major Scale and Modes ………………………………………………………………… 35 Ionian …………………………………………………………………………………. 36 Dorian ………………………………………………………………………………… 37 Phrygian ………………………………………………………………………………. 38 Lydian ………………………………………………………………………………... 39 Mixolydian ……………………………………………………………………………. 40 Aeolian ………………………………………………………………………………… 41 Locrian ……………………………………………………………………………….. 42 Melodic Minor Scale and Modes ………………………………………………………. 43 Melodic Minor ………………………………………………………………………… 44 Dorian b2 ……………………………………………………………………………… 45 Lydian Augmented …………………………………………………………………… 46 Lydian Dominant ……………………………………………………………………… 47 Mixolydian b6 ………………………………………………………………………… 48 Locrian 2 ……………………………………………………………………………… 49 Super Locrian ………………………………………………………………………….. 50

Harmonic Minor Scale and Modes ……………………………………………………… 51Harmonic Minor ……………………………………………………………………… 52Locrian 6 ……………………………………………………………………………… 53

Ionian Augmented ……………………………………………………………………. 54 Dorian #4 …………………………………………………………………………….. 55 Phrygian Dominant …………………………………………………………………… 56 Lydian #2 ……………………………………………………………………………… 57 Altered bb7 …………………………………………………………………………… 58 Major Pentatonic Scale and Modes …………………………………………………….. 59 Major Pentatonic ………………………………………………………………………. 60 Pentatonic Type 2 …………………………………………………………………….. 61 Pentatonic Type 3 …………………………………………………………………….. 62 Pentatonic Type 4 …………………………………………………………………….. 63 Minor Pentatonic ……………………………………………………………………… 64 Symmetrical Scales …………………………………………………………………….. 65 Augmented Scale ……………………………………………………………………… 66 Dominant Diminished Scale …………………………………………………………. 67 Symmetrical Diminished Scale ……………………………………………………….. 68 Whole Tone Scale ……………………………………………………………………. 69SECTION III: Arpeggios ……………………………………………………………….. 70 Generic Arpeggio ………………………………………………………………………. 71 Major Arpeggio ………………………………………………………………………… 72

Minor Arpeggio ………………………………………………………………………… 75

Dominant Arpeggio ……………………………………………………………………. 78 Minor 7 b5 Arpeggio …………………………………………………………………… 81 Diminished Arpeggio …………………………………………………………………... 84 Augmented Arpeggio …………………………………………………………………… 87SECTION IV: Motion Patterns …………………………………………………………. 90 Motion Patterns ………………………………………………………………………… 91SUMMARY ……………………………………………………………………………… 93ACKNOWLEDGMENTS ………………………………………………………………. 94

SECTION IINTRODUCTION

Welcome to the wonderful world of intervals. Almost everything you play on the bass is made up of intervals.Without getting too technical, an interval is the distance between two notes. This book will focus on helpingyou understand scalar and chordal intervals. Note that the terms scale and mode mean the same thing and canbe interchanged. With that being said, it is time for a little terminology:

1. A mode is a scale derived from a root scale, i.e., a Dorian scale is the 2nd mode of the Major (Ionian) scale.2. Every interval (remember, the distance between two notes) of the Major (Ionian) scale starts a new mode.3. Since there are 7 notes in the Major scale, there are 7 modes.4. The interval structures are written numerically at the top of each page underneath the shown scale. From the root they are:

1 half step = minor 2nd (b2)2 half steps = major 2nd (2)3 half steps = minor 3rd (b3) or augmented 2nd (#2)4 half steps = major 3rd (3) or diminished 4th (b4)5 half steps = perfect 4th (4) If you play these intervals in order, you will be6 half steps = augmented 4th (#4) or diminished 5th (b5) playing the chromatic scale.7 half steps = perfect 5th (5)8 half steps = minor 6th (b6)9 half steps = major 6th (6) or diminished 7th (bb7)

10 half steps = minor 7th (b7)11 half steps = major 7th (7)12 half steps = octave or perfect unison

By knowing your interval numbers, you should be able to play any scale/mode.

This is the Major scale and it's related modes:

IONIAN

PHRYGIAN

DORIAN

LYDIANMIXOLYDIAN

AEOLIAN

IONIAN

LOCRIAN

The first chapter is on extended fingerings. By using this type of fingering, you gain more range in one position: 1 octaveand a fifth on 4 string, 2 octaves on 5 string, and 2 octaves and a fourth on 6 string. The cool thing is, if you know thestandard fingerings: 2nd finger on the root note, you are half-way there already, as the standard fingering is the 2nd halfof the extended fingerings.

This is the relationship between extended fingerings and standard fingerings:

1 2 3 4 5 6 7 8 9 10 11 12 filled cicle = standard fingerings

The 5 string is shown so you can see a full octave of each fingering.

Make sure that when you practice these scales go slow and alternate your finger or pick strokes. Do notrake (drag) your fingers/pick across the strings when descending. There is a time and a place for that, but now isnot that time or place. I also recommend that you sing (gasp!) the intervals as you play them. It is great ear-training.

1

After practicing these scales for awhile, you should be able to sing them without your bass in hand.Most of what is presented here is pretty basic, and I am assuming that you know at least some theory. If not, I

recommend that you find a good instructor to teach you. Look for someone that knows functional harmony andcan improvise. Avoid those that just teach technique or licks, that will get you nowhere. I have found that the bestinstructors are horn players or piano players. They might not be able to show you how to do that fancy slap tuplet,but when it comes to academic music instruction, they are usually the best. Speaking of piano, I highly endorsesitting at the keyboard and banging out the scales and chords. Again, this is great ear-training. Almost all of thegreat improvisors have at least some basic keyboard knowledge, and if you get good enough at it, you can double onkeys or keyboard bass (shh! don't tell anyone I said that!) and increase your income.

The chord diagrams on the scale pages are basic open chords that usually have the 5th omitted. Some ofvoicings also have the root omitted. Though bassists aren't called on much to play chords, if you can play them,it will give you a deeper understanding of the harmony and help you in your own writing process.

By the end of the book, you should know all of the scales and modes presented and should be practicing themin every key. Using them in a musical situation is going to be different than practicing them in your room. You shouldbe able to incorporate them into your playing without having to think about it. Running scales over changes is nottruly improvising. The goal is to be able to improvise freely, with the scales being used as a reference, not a rule.Chromatic approach notes, passing tones and taste play a huge part in improvising a smooth line. That is where the ear-training comes in. Though I can show you the framework for improvising....scales, arpeggios and chords, what comesout of your soul/heart via your instrument is up to you. The patterns are here to better equip yourself with the toolsneeded to be a rounded musician. The more you understand your instrument and the music you are playing, thebetter you will become. Again, a competant instructor will help you reach your goals faster than any method book,video, CD-ROM....etc. Big ears, thorough musical knowledge, and professionalism will make you an "in demand"bassist, and where I come from, that is a good thing.

All of the fretboard diagrams are in standard tuning. EADG for 4 string, BEADG for 5 string, and BEADGC for6 string. If you use a high C on the 5 string, the patterns will still work, or if you use any other type of tuning thatis in 4ths, the patterns will work. As these are all "movable" patterns, I will expect you to be praticing them in ALLkeys.

Copyright © 2002

2

The Major scale and related modes

Recognize this?

IONIANDORIAN

PHRYGIANLYDIAN

MIXOLYDIANAEOLIAN

IONIAN

LOCRIAN

The interval relationships of the Major scale are as follows:

Ionian 1,2,3,4,5,6,7in relation to the Major scale 1,2,3,4,5,6,7

Dorian 1,2,b3,4,5,6,b7in relation to the Major scale 2,3,4,5,6,7,1

Phrygian 1,b2,b3,4,5,b6,b7 BOLD = Modalityin relation to the Major scale 3,4,5,6,7,1,2 REGULAR = Tonality

Lydian 1,2,3,#4,5,6,7in relation to the Major scale 4,5,6,7,1,2,3

Mixolydian 1,2,3,4,5,6,b7in relation to the Major scale 5,6,7,1,2,3,4,

Aeolian 1,2,b3,4,5,b6,b7in relation to the Major scale 6,7,1,2,3,4,5

Locrian 1,b2,b3,4,b5,b6,b7in relation to the Major scale 7,1,2,3,4,5,6

If you are not used to using extended fingerings, make sure that you take it easy as your hand will cramp, especiallyif you are using a 5 or 6 string or a long scale plus (35" or longer) bass. For the lower positions, my suggestion is touse fingers 1, 2, and 4 for whole-step intervals up to the 12th fret. Then, you can use whatever is comfortable after that.

ex: 5 STRING

1 1

1

1 1 1

2

2 2 2 2

3

3

4

4 4 4 4 4

5 6 7 8 9 10 11 12

1 1

13

1 1 1

14

2 2 3 3

15

3

16

4 4 4 4 4

17 18 19

I have included both a fretboard diagramand notation. For those of you who can't read music, you should be able to relate the notewith its placement on the fretboard. For those who can read music, the fretboard is needed to show you the correct fingering. Thereis a brief description of the type of scale at the bottom of each page. It is just a reference, not a rule. Many modes can function overmore than one chord, for instance, I like to use a G phrygian over a G7, this works because I know the intervals of the scale, and thetensions available for the 7 chord. After you learn the basics, and have your ears in shape, you can pretty much use any scale overany chord, if you resolve them correctly.

Every primary scale has its specific modes. Every mode has a related 7th chord. Those relations and the musical short-hand usedto describe them are presented below:

3

IMaj7GMaj7

ii-7Am7

iii-7Bm7

IVMaj7CMaj7

V7D7

vi-7Em7

vii-7b5F#m7b5

The top letters describe the type of chord being played. GMaj7 means a G major 7th chord is being played. The bottomRoman numerals are used to describe the function of the chord. I means that it is the 1 chord of the progression. So aii-V-I means that it is a progression starting on a minor 7th (2 chord) going to a dominant 7th (5 chord) going to a major 7th(1 chord) using cycle root motion. This type of progression is refered to as a cadence and is extremely popular in the jazzand fusion genre. It is also found all over in pop music. Make sure that you become very familiar with this progression.I will be refering to it quite often throughout this book. If you know the chord and its function, then you will know what scaleto play. Sometimes the written chord changes will include the extentions that the composer wants used in the music. Forexample: CMaj7#11, means that a Lydian scale should be the starting point for the improvised line and that the #11 should beemphasized. It takes awhile to understand this short-hand, but once you do understand it, you can analyze a progression onthe fly and base (bass?) your improvisation appropriately.

The "avoid" notes I mention in the scale description, are to be avoided for resolution, however, they may be played as a passingtone.

4

IONIAN / MAJOR1 2 3 4 5 6 7

Fmaj7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Cmaj7

2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 241

Cmaj7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

The Major scale or Ionian mode is the most widely recognized scale in Western music. Just like the name states, it is majorin its tonality, meaning that it has a major 3rd. The 4th interval is very dissonant (doesn't sound very good) and should beconsidered an avoid note for all but the most advanced improvisors. Its chord is commonly used as a I chord in most styles ofmusic and is one way to tell the "key of the moment" in most ii-V7-I jazz progressions. The arpeggio is a Major 7th. Extentionsare 9 and 13. Improvisors sometimes raise the 4(#11) making it a Lydian scale.

5

DORIAN1 2 b3 4 5 6 b7

Gm7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Dm7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Dm7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Dorian is the 2nd mode of the Major scale. It is minor in tonality (has a minor 3rd). There are no avoid notes to worry about.The arpeggio is a minor 7. Dorian is typically the ii chord in a ii-V7-I progression and is commonly substituted as the i chordin a minor ii-7b5-V7b9-i progression. It is also used extensively in modal and funk tunes. Extentions are 9, 11, and 13. The6th interval should be used with care when involved in a ii-V-I progression, it doesn't sound bad per say, but it can negate thedominant resolution of the V7 chord.

6

PHRYGIAN1 b2 b3 4 5 b6 b7

Am7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Em7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Em7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Phrygian is the 3rd mode of the Major scale. It is minor in tonality. This scale is quite common in rock tunes and wouldbe the iii in a iii-VI7-ii-V7-I progression. The b2 is a touchy note, and unless the chord uses it as a b9, it should be avoided.The arpeggio is a minor 7th. Extentions are b9 (sometimes), 11 and b13.

7

LYDIAN1 2 3 #4 5 6 7

B maj7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Fmaj7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Fmaj7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Lydian is the 4th mode of the Major scale. It is major in tonality. It has no avoid notes. Matter of fact, the #4 can actually beemphasized as it doesn't clash with any other note. The arpeggio is a major 7th, and the extentions are 9, #11 and 13. It is agood substitution for the Major scale, even though it implies another key.

8

MIXOLYDIAN1 2 3 4 5 6 b7

C7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

G7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

G7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Mixolydian is the 5th mode of the Major scale. It is dominant in tonality, meaning it wants to resolve up a 4th or downa 5th to the I chord. This is the most common scale ( well, next to pentatonics, but that is a later chapter) and chordin music today. I-IV-V type blues progressions are usually made up entirely of dominant chords, and its unstable naturegives it great forward momentum. The 4th of the scale is dissonant and should be avoided. The arpeggio is a dominant 7th,and the extentions are 9 and 13. Mixolydian is also the scale of choice for secondary dominants* resolving to the IV andV7 chords.* a secondary dominant is a substituted dominant chord that resolves to a diatonic chord

9

AEOLIAN / NATURAL MINOR1 2 b3 4 5 b6 b7

Dm7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Am7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Am7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Aeolian is the 6th mode of the Major scale and is commonly called the Natural Minor scale. Its tonality is naturally, minor. Theconditional avoid note is the b6th, but most people can get by using it as a passing tone. You will see this scale and chord in someI-vi-ii-V7 progressions and also iii-vi-ii-V7 progressions. It is also seen as the 1 chord in minor progressions. Its arpeggio isminor, and the extentions are 9, 11 and b13.

10

LOCRIAN1 b2 b3 4 b5 b6 b7

Em7 5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Bm7 5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Bm7 5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Locrian is the 7th mode of the Major scale. It is minor in tonality. The b2 is a conditional avoid note. The locrian "chord" iscommonly found in minor progressions as the ii chord. The arpeggio is a minor 7b5 or half diminished. Extentions are b9,11 and b13.

11

The Melodic Minor and related modes

LYDIAN AUGMENTED

MELODIC MINORDORIAN b2

LYDIAN DOMINANTMIXOLYDIAN b6

LOCRIAN 2

MELODIC MINOR

SUPER LOCRIAN

The interval relationships of the Melodic Minor are as follows:

Melodic Minor 1, 2, b3, 4, 5, 6, 7in relation to the Melodic minor 1, 2, b3, 4, 5, 6, 7

Dorian b2 1, b2, b3, 4, 5, 6, b7in relation to the Melodic minor 2, b3, 4, 5, 6, 7, 1

Lydian Augmented 1, 2, 3, #4, #5, 6, 7in relation to the Melodic minor b3, 4, 5, 6, 7, 1, 2

Lydian Dominant 1, 2, 3, #4, 5, 6, b7in relation to the Melodic minor 4, 5, 6, 7, 1, 2, b3

Mixolydian b6 1, 2, 3, 4, 5, b6, b7in relation to the Melodic minor 5, 6, 7, 1, 2, b3, 4

Locrian 2 1, 2, b3, 4, b5, b6, b7in relation to the Melodic minor 6, 7, 1, 2, b3, 4, 5,

Super Locrian 1, b2, b3(#2), b4(3), b5, b6(#5), b7in relation to the Melodic minor 7, 1, 2, b3, 4, 5, 6

The Melodic minor can be thought as a Major scale with a flat 3rd. The traditional Melodic minor ascends aswritten here but descends in Aeolian. Thinking of it in this manner would make it very awkward to improvise with.So ascend and descend on the same scale. Using the Melodic minor in improvisation allows for some interestingnote choices and harmonic embellishments not found in the Major scale. Many of the modes of the Melodic minormay be substituted for modes of the Major scale, creating chromatic motion and colorful tension and release, which isthe key to good improvisation. As you practice these modes, be sure to sing them also. If you can sing themwithout your bass, then you can hear and recognize them when somebody else is playing them.

These are the related chord structures of the Melodic minor:

i-M7G-M7

ii-7A-7

bIII+5BbM7#5

IV7C7

V7D7

vi-7b5E-7b5

vii-7b5F#-7b5

12

MELODIC MINOR1 2 b3 4 5 6 7

FmMaj7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

CmMaj7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

CmMaj7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

The Melodic minor is the 1st mode of the Melodic minor scale (duh?). It can be looked at as a Major scale with a flat 3rd or aDorian scale with a major 7th. The tonality is minor. The arpeggio is a minor-major 7th. It can be used as a substitution overminor chords/triads and can be used on the I chord of a minor ii-V7-i progression. There are no avoid notes. When you seea minor cadence where the 1 chord is for ex: Cm6, the composer is implying the use of the melodic minor.

13

DORIAN b21 b2 b3 4 5 6 b7

Gm7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Dm7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Dm7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Dorian b2 is the second mode of the Melodic Minor scale. It is minor in tonality. The b2 is a conditional avoid note butmay be used as a passing tone. This mode may be substituted anywhere there is a Dorian chord, though it is rarely used.The arpeggio is a minor 7th, and the extentions are b9, 11, and 13.

14

LYDIAN AUGMENTED1 2 3 #4 #5 6 7

A maj #5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

E maj#5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Emaj#5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Lydian Augmented is the 3rd mode of the Melodic minor scale. Its tonality is augmented. It may be substituted over majorchords. There are no avoid notes. The arpeggio is an augmented 7th, and the extensions are 9, #11, 13.

15

LYDIAN DOMINANT1 2 3 #4 5 6 b7

B 7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

F7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

F7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Lydian Dominant is the 4th mode of the Melodic minor scale. Its tonality is dominant. There are no avoid notes.The #4 should be emphasized. It may be substituted over a regular dominant chord or a dominant #11 chord. Thearpeggio is a dominant 7th. The extensions are 9, #11, 13. It may also be played over a fully altered dominantchord whose root is an interval of a b5 below or a #4 above (tri-tone) the root of the scale. Lydian dominant is alsothe scale of choice any time there is a tri-tone substitution for the V7 chord. The tri-sub-V creates chromatic rootmovement, but still provides a dominant resolution due to the fact that the guide tones are in both dominant chords.Say What?

ii-7 V7 I ii-7 bII7 I

If you look at the 3rd and 7th interval of each dominant chord, you can see that they are the same notes, only inverted andwritten enharmonically. The #4 of the substitute is also the root note of the related regular dominant. This is a very commonsubstitution, and will always take the Lydian Dominant scale. Remember when I talked about using the piano? Now would bea very good time. You can get a feel for this resolution better when you are hearing it......really.

16

MIXOLYDIAN b61 2 3 4 5 b6 b7

C7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

G7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

G7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Mixolydian b6 is the 5th mode of the Melodic minor scale. Its tonality is dominant. This mode may be substitutedover a regular dominant chord, or a dominant chord with a #5(b13). The arpeggio is dominant, and the extentions are 9, 11,and b13. The 4th(11th) of the scale is an avoid note. Mixolydian b6 is also the scale of choice for a secondary dominant*chord that resolves to the ii chord.

* see Mixolydian for details

17

LOCRIAN 21 2 b3 4 b5 b6 b7

Dm7 5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Am7 5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Am7 5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Locrian 2 is the 6th mode of the Melodic minor scale. It is half-diminished in tonality. There are no avoid notes. Thismode is commonly used over the ii chord of a minor ii-V7-i progression. The arpeggio is a minor 7 b5 or half-diminished.Extentions are: 9, 11, and b13. The b6th(b13) in a minor cadence should be treated with care, as the V7 chord has a major3rd which would be a half step up from the b6th, although it can be treated as a #2 for the V7. What I typically do is raisethe b6th up a half-step creating a a hybrid of the Locrian 2 and the Locrian 6 found in the Harmonic minor scale.

18

SUPER LOCRIAN1 b2 b3 b4 b5 b6 b7

E7 9#5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

B7aug5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

B7dim5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Super Locrian is the 7th mode of the Melodic minor scale. Its tonality may be 1/2 diminished or dominant, though it is usuallyused over altered dominant chords. There are many thoughts on when to use this scale over a particular chord. The generalrule I follow is if there is an altered 9 in the chord, it is safe to play this mode, as b9 and #9 go together, whether stated or not.This scale can also be used over a dominant #11 chord whose root is a b5 below or a #4 above the root of the scale. As youcan see, there are many possible scales to play over dominant chords. The reason for this is because of the unstable natureof the dominant chord. It wants to move or resolve. The only thing that should dictate what you play is your ear and a healthydose of taste. That can be said of any type of scale. Super Locrian is also called the diminished-whole-tone scale or thefully altered or altered scale.

19

The Harmonic Minor and related modes

HARMONIC MINOR

IONIAN AUGMENTED

LOCRIAN 6

DORIAN #4PHRYGIAN DOMINANT

LYDIAN #2

HARMONIC MINOR

ALTERED bb7

The interval relationships of the Harmonic Minor scale are as follows:

Harmonic Minor 1, 2, b3, 4, 5, b6, 7in relation to the Harmonic Minor 1, 2, b3, 4, 5, b6, 7

Locrian 6 1, b2, b3, 4, b5, 6, b7in relation to the Harmonic Minor 2, b3, 4, 5, b6, 7, 1

Ionian Augmented 1, 2, 3, 4, #5, 6, 7in relation to the Harmonic Minor b3, 4, 5, b6, 7, 1, 2

Dorian #4 1, 2, b3, #4, 5, 6, b7in relation to the Harmonic Minor 4, 5, b6, 7, 1, 2, b3

Phrygian Dominant 1, b2, 3, 4, 5, b6, b7in relation to the Harmonic Minor 5, b6, 7, 1, 2, b3, 4

Lydian #2 1, #2, 3, #4, 5, 6, 7in relation to the Harmonic Minor b6, 7, 1, 2, b3, 4, 5

Altered bb7 1, b2, b3, b4, b5, b6, bb7in relation to the Harmonic Minor 7, 1, 2, b3, 4, 5, b6

The Harmonic minor is similar to the Melodic minor in that its alterations to the Major scale createsome interesting note choices and give us the "main" dominant scale used in minor 2-5-1 progressions.The modes of the Harmonic Minor sound Spanish or Gypsy-like in certain hands and are heard quiteoften in contemporary music of all genres. Again, you should sing these modes with and without yourbass.

These are the related chord structures of the Harmonic minor:

i-M7G-M7 A-7b5

ii-7b5 bIIIM7+BbM7+

iv-7C-7

V7D7

VIM7EbM7

viidim7F#dim7

20

HARMONIC MINOR1 2 b3 4 5 b6 7

FmMaj7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

CmMaj7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

CmMaj7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

The Harmonic minor is the first mode of the Harmonic minor ( odd, I know). Its tonality is minor. The arpeggio is a minor-major7th. There are no avoid notes. The Harmonic minor may be used over minor chords/triads and used over the 1 chord of a minor2-5-1 progression. It may be thought of as an Aeolian scale with a major 7th. If you have ever listened to the guitar heros of the80's ( yes, the dudes with all that hair) in the neo-classical style, you have definitely heard this scale and its modes. When yousee a minor cadence, and the 1 chord is for example: Cm, the composer is implying the use of the harmonic minor.

21

LOCRIAN 61 b2 b3 4 b5 6 b7

Gm7 5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Dm7 5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Dm7 5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Locrian 6 is the 2nd mode of the Harmonic minor scale. It is half-diminished in tonality. The note to "avoid" would be the b2.This scale is typically used over the 2 chord in a minor ii-V7b9-i progression. Like I mentioned earlier, I like to use this scalein conjunction with the Locrian 2 mode, creating a hybrid scale that works very well for the progression. The arpeggio is half-diminished, and the extensions are b9, 11, and 13.

22

IONIAN AUGMENTED1 2 3 4 #5 6 7

A maj7#5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

E maj7+5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

E maj7+5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Ionian Augmented is the 3rd mode of the Harmonic minor scale. It is major in tonality. As with the related Ionian mode, the4th should be used cautiously. The arpeggio is a major 7th with an augmented (#) 5. This scale can be substituted over aregular major 7th chord as long as the #5 isn't emphasized, it does make a good passing tone leading to the 13th (6th) though.The extensions are 9, 11, and 13.

23

DORIAN #41 2 b3 #4 5 6 b7

B m7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Fm7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Fm7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Dorian #4 is the 4th mode of the Harmonic minor scale. Tonality is minor. There are no avoid notes This scale can be usedas a substitute over minor chords. I like to add a natural 4 to it, giving it a psuedo-blues scale sound, and then use it over bluesprogressions or dominant chords. The arpeggio is a minor 7th, and the extensions are 9, #11, 13.

24

PHRYGIAN DOMINANT1 b2 3 4 5 b6 b7

C7 9

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

G7 9

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

G7 9 13

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 21 23 24

Phrygian Dominant is the 5th mode of the Harmonic minor scale. It is dominant in tonality. The arpeggio is a dominant 7th.Extensions are b9, 11, and b13. As with any dominant structure, the 4th (11th) should be handled with care. This scale istypically used over the V7b9 chord of a minor ii-V-i progression. The b13 might or might not be in the chord symbol. However,when you see this type of progression, it is safe to assume that there is a b13, even if it is not indicated in the chord symbol.This is the most common mode used from the Harmonic minor scale when playing changes. Also remember that b9 and #9go together, giving you another note choice to use when improvising. Phrygian dominant is also the scale of choice forsecondary dominants* that resolve to the vi and iii chords.*see Mixolydian for details

25

LYDIAN #21 #2 3 #4 5 6 7

D maj7#11#9

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

A maj7#11

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

A maj7#11

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Lydian #2 is the 6th mode of the Harmonic minor scale. It is major in tonality. The #2 should be used as a passing tone.There are no avoid notes. The arpeggio is a major 7th. I like to add the natural 2 in with this one to add a bluesy-type feelto it. The extensions are: #9, #11, and 13. This scale can be substituted over major chords.

26

ALTERED bb71 b2 b3 b4 b5 b6 bb7

Edim

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Bdim

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Bdim

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Altered bb7 is the 7th mode of the Harmonic minor scale. It is diminished in tonality. There are no avoid notes. The arpeggiois a diminished 7th. This scale can also be used on altered dominant 7th chords by adding a b7 to the structure.

27

The Major pentatonic and related modes

MAJOR PENTATONIC

TYPE 2

TYPE 3TYPE 4

MINOR PENTATONIC

MAJOR PENTATONIC

The interval relationships of the Major pentatonic are as follows:

Major pentatonic 1, 2, 3, 5, 6in relation to the Major pentatonic 1, 2, 3, 5, 6

Type 2 1, 2, 4, 5, b7in relation to the Major pentatonic 2, 3, 5, 6, 1

Type 3 1, b3, 4, b6, b7in relation to the Major pentatonic 3, 5, 6, 1, 2

Type 4 1, 2, 4, 5, 6in relation to the Major pentatonic 5, 6, 1, 2, 3

Minor Pentatonic 1, b3, 4, 5, b7in relation to the Major pentatonic 6, 1, 2, 3, 5

The pentatonic scales are usually the first type of scales learned by the novice bassist. They are easy to learn, easyto use, and you can hear them in use every day, in every style of music. Some players never get past using pentatonics,(your guitar player for instance) which is why I included them after the primary scales. Even though the pentatonics areeasy to use, they can be incorporated into advanced improvising ideas and sound fantastic. Since I am trying to keepthis process as simple as possible, I will keep mainly to the tonality of the scales and try not to digress too much.

28

MAJOR PENTATONIC1 2 3 5 6

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

The Major pentatonic is the first mode of the major pentatonic scale (hmmm isn't that interesting). Its tonality is major. Thereare no avoid notes. Due to the nature of pentatonics, they can be played over a variety of chords. The major pentatonic canbe played over major and dominant-type chords, and to spice things up, try playing it a whole-step up from the root note of amajor chord. That gives you all of the cool extensions of a major chord.

29

PENTATONIC TYPE 21 2 4 5 b7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Pentatonic type 2 is the 2nd mode of the major pentatonic. Its tonality is minor or dominant. If played over a dominant chord,the 4th should be avoided as a resolution note.

30

PENTATONIC TYPE 31 b3 4 b6 b7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Pentatonic type 3 is the 3rd mode of the major pentatonic. Its tonality is minor. It can be played over dominant chords,implying the tensions #9 and #5(b13).

31

PENTATONIC TYPE 41 2 4 5 6

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Pentatonic type 4 is the 4th mode of the pentatonic scale. Its tonality is major or dominant. I prefer to use it over dominanttype chords, while trying not to emphasize the 4th interval of course. It can also be used over minor chords quite effectively.

32

MINOR PENTATONIC1 b3 4 5 b7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

The Minor pentatonic is the 5th mode of the major pentatonic scale. Its tonality is minor. A b5 may be added to create theubiquitous "blues scale". As is the nature of pentatonics, the minor and the blues scale may be played over all types of chords.Many players play a single minor or blues scale throughout a typical blues progression, starting on the root note of the firstchord of the progression. As with all scales, practice, experimentation, experience, knowledge, and good ears will lead youto the correct ( no, it does not have to be "politically correct") choice.

33

SECTION IIDIAGONALS

Now that you have mastered the 3 primary scales and their modes, along with the pentatonics, it is time to look at the neck in adifferent way. This method was shown to me by guitar extremist Chris Brungardt. At first I was hesitant, thinking "what does aguitar player know about playing bass", but after practicing it for about 5 minutes, the logic and simplicity of these shapes blewmy mind. The theory behind this is to take a scale and divide it over 2 strings. Due to the symmetry of the bass neck, this worksgreat.

For this first example we will look at the Ionian mode.This shape is called a 4/3 form. 4 notes on 1 string, 3 on the other.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

It will repeat again at the octave:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Now let's see what happens when we reverse the order:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

We now have a 3/4 pattern for Mixolydian. It will repeat again at the octave:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

By learning one 4/3 shape, you automatically learn 2 scales, as the 4/3 reverses to become a 3/4, and vice versa. Here is whatwe get when the 2 forms are combined:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

filled circle = 4/3 pattern open circle = 3/4 pattern

As you can see, "both forms lock together, without overlapping, to cover the entire fretboard. So the bottom line is, we've memorizedone two string pattern and by doing so can play the {Ionian scale} over the complete fretboard." (1)The way these forms lay on the fingerboard, enables you to avoid the note clusters on one string that are usually learned when doingmultiple octaves. Every 4/3 form will reverse to become a 3/4 form up a diatonic 5th or down a diatonic 4th. Every 3/4 form will reverseto become a 4/3 form up a diatonic 4th or down a diatonic 5th. This method can be applied to any type of scale, arpeggio and triad. Alldescriptions of the extended fingering scales apply here.

(1) used with permission from "FRETBOARDALCHEMY" byChrisBrunbardt ©1992

34

Major Scale and ModesDiagonals

1. IONIAN2. DORIAN3. PHRYGIAN4. LYDIAN5. MIXOLYDIAN6. AEOLIAN7. LOCRIAN

35

IONIAN DIAGONAL1 2 3 4 5 6 7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

36

DORIAN DIAGONAL1 2 b3 4 5 6 b7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

37

PHRYGIAN DIAGONAL1 b2 b3 4 5 b6 b7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

38

LYDIAN DIAGONAL1 2 3 #4 5 6 7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

39

MIXOLYDIAN DIAGONAL1 2 3 4 5 6 b7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

40

AEOLIAN DIAGONAL1 2 b3 4 5 b6 b7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

41

LOCRIAN DIAGONAL1 b2 b3 4 b5 b6 b7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

42

Melodic Minor Scale and ModesDiagonals

1. MELODIC MINOR2. DORIAN b23. LYDIAN AUGMENTED4. LYDIAN DOMINANT5. MIXOLYDIAN b66. LOCRIAN 27. SUPER LOCRIAN

43

MELODIC MINOR DIAGONAL1 2 b3 4 5 6 b7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

44

DORIAN b2 DIAGONAL1 b2 b3 4 5 6 b7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

45

LYDIAN AUGMENTED DIAGONAL1 2 3 #4 #5 6 7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

46

LYDIAN DOMINANT DIAGONAL1 2 3 #4 5 6 b7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 2

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

47

MIXOLYDIAN b6 DIAGONAL1 2 3 4 5 b6 b7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

48

LOCRIAN 2 DIAGONAL1 2 b3 4 b5 b6 b7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

49

SUPER LOCRIAN DIAGONAL1 b2 b3 b4 b5 b6 b7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

50

Harmonic Minor Scale and ModesDiagonals

1. HARMONIC MINOR2. LOCRIAN 63. IONIAN AUGMENTED4. DORIAN #45. PHRYGIAN DOMINANT6. LYDIAN #27. ALTERED bb7

51

HARMONIC MINOR DIAGONAL1 2 b3 4 5 b6 b7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

52

LOCRIAN 6 DIAGONAL1 b2 b3 4 b5 6 b7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

53

IONIAN AUGMENTED DIAGONAL1 2 3 4 #5 6 7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

54

DORIAN #4 DIAGONAL1 2 b3 #4 5 6 b7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

55

PHRYGIAN DOMINANT DIAGONAL1 b2 3 4 5 b6 b7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

56

LYDIAN #2 DIAGONAL1 #2 3 #4 5 6 7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

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ALTERED bb7 DIAGONAL1 b2 b3 b4 b5 b6 bb7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

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Major Pentatonic Scale and ModesDiagonals

1. MAJOR PENTATONIC2. PENTATONIC TYPE 23. PENTATONIC TYPE 34. PENTATONIC TYPE 45. MINOR PENTATONIC

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MAJOR PENTATONIC DIAGONAL1 2 3 5 6

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

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PENTATONIC 2 DIAGONAL1 2 4 5 7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

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PENTATONIC 3 DIAGONAL1 b3 4 b6 b7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

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PENTATONIC 4 DIAGONAL1 2 4 5 6

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

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MINOR PENTATONIC DIAGONAL1 b3 4 5 6

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

64

SYMMETRICALS

Symmetrical scales are synthetic scales used over non-diatonic chords. I decided to introduce them in this sectiondue to the relevance of their commonly used shapes.

1. AUGMENTED SCALE2. DOMINANT DIMINISHED SCALE3. SYMMETRICAL DIMINISHED SCALE4. WHOLE TONE SCALE

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AUGMENTED1 #2 3 5 b6 7

FMaj7#5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

CMaj7#5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

CMaj7#5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

The augmented scale is a 6 tone scale used over major chords. Due to its symmetry, there are only 2 augmented scales.Its tonality is major. The arpeggio is a major 7, and the extensions are #9 and #5.

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DOMINANT DIMINISHED1 b2 b3 b4 b5 bb6 bb7 b 7

(3) (5) (6)

F7 9

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

C7 9

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

C7 9 5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Due to the symmetrical nature of this scale, there is only one 4/4 form. If you started the scale on the 2nd note, you would endup with a full diminished scale which will be explained on the next page. There are only 3 dominant diminished scales. Tonalityis dominant. The arpeggio is diminished, but can also be a dominant with a flat 5. Extensions are b9, #9 and b13.

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SYMMETRICAL DIMINISHED1 2 b3 4 b5 b6 bb7 7

Fdim

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Cdim

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Cdim

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

The symmetrical diminished or whole-step-half-step diminished scale is the same scale as the dominant diminished scalestarting with a whole-step. It's tonality is diminished. It may be used over minor and half-diminished chords also. The arpeggiois diminished, and the extensions are 9, 11, b13 and 15.

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WHOLE TONE1 2 3 #4 #5 #6

F7#5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

C7 5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

C7#5

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

The whole tone scale is a 6 tone scale used over dominant chords. Due to its symmetry, there are only 2 whole tone scales.Its tonality is dominant. The arpeggio is a dominant #5 , and the extensions are 9 and b5.

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SECTION IIIARPEGGIOS

Arpeggios are nothing more than a chord sounded one note at a time. Unlike scales, which are horizontal/linear structures,arpeggios are vertical non-linear structures and are a bit more difficult to play. If you take a scale and play every other note,that will give you the arpeggio for that particular scale. For example:

If you play every other note (the half notes) of a C major scale, you will be playing a C major arpeggio. Since an arpeggio has4 notes in its basic form, there are 4 ways to play it. These different ways are called inversions. If you started the arpeggio onthe 2nd note, (3rd interval) an E in the example, you would be playing the arpeggios 1st inversion. 2nd inversion would start onthe 3rd note, (5th interval) a G from our example. 3rd inversion would start on the 4th note, (7th interval) a B in the example.Notated they would look like this:

CM7 CM7 1st inversion CM7 2nd inversion CM7 3rd inversion

Chord extensions are created by adding notes on top of the arpeggio in thirds creating compound intervals. A 2nd becomes a9th, a 4th becomes an 11th and a 6th becomes a 13th. A 13th chord/arpeggio is a whole scale played in thirds.

1 3 5 7 9 11 13

In keeping with the spirit of Section II, we will be using a 2 note per string pattern for each arpeggio and inversion. This typeof pattern allows you to play multiple octaves with ease due to the "linear" nature of the patterns. By visualizing the neck in thisway, you will begin to see how arpeggios and scales can be intertwined with each other without having to make major adjustmentsin your playing. The next page shows some generic patterns for arpeggios. You should learn them also. The same avoid noterules that apply to the scales apply to the arpeggios also.

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GENERIC ARPEGGIOS

Major Arpeggio

Minor Arpeggio

Dominant Arpeggio

Half Diminished Arpeggio

Diminished Arpeggio

Augmented Arpeggio

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MAJOR 7 ARPEGGIO1 3 5 7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1st inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

2nd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

3rd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 22 24

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1st inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

2nd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

3rd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1st inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

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2nd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

3rd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

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MINOR 7 ARPEGGIO1 b3 5 b7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1st inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

2nd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

3rd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

75

1st inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

2nd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

3rd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1st inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

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2nd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

3rd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

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DOMINANT 7 ARPEGGIO1 3 5 b7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1st inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

2nd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

3rd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

78

1st inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

2nd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

3rd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1st inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

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2nd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

3rd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

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MINOR 7b5 ARPEGGIO1 b3 b5 b7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 14 16 17 18 19 20 21 22 23 24

1st inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

2nd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

3rd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

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1st inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

2nd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

3rd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1st inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

2nd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

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3rd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

83

DIMINISHED ARPEGGIO1 b3 b5 bb7

4 STRING

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1st inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

2nd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

3rd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

84

1st inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

2nd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

3rd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1st inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

85

2nd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

3rd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

86

AUGMENTED ARPEGGIO1 3 #5 7

4 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1st inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

2nd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

3rd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

5 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

87

1st inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

2nd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

3rd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

6 String

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1st inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

88

2nd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

3rd inversion

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

89

SECTION IVMOTION PATTERNS

Motion patterns or sequences are a way to improve your technique, ear, and knowledge of the fingerboard. I have written outa few examples to get you started. For ease of writing, the patterns are written in the 4-string range. Make sure that youplay them over the entire range of the bass you are playing. Also, all of the patterns are from the Major scale and its modes.Make sure that you practice ALL of the scales. The first example sets the precedence for all of the following examples. Practicethe extended fingerings first and then move on to the diagonal shapes. Feel free to make up your own permutations, the possibilitiesare endless. Be sure to vary your articulations when practicing these patterns. Pay attention to your plucking/picking hand anduse strict alternation. No need to get sloppy now.

90

Motion Patterns

1.

2.

etc....3.

etc....

91

4.

etc....5.

etc....

6.

etc....

7.

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SUMMARY

Well you made it. If you have learned all the material presented here, you are well on your way tofretboard mastery. Keep in mind that this information is only part of a building block of an entire structure.I can't stress enough the importance of a good instructor. They will be your guide, mentor, and the personto seek when you need to tie up some loose ends in your studies. Even if you can play all of these scalesand arpeggios in your sleep, blind-folded, with one hand behind your back, that doesn't mean that you willbe able to communicate effectively with the listeners or even other musicians. Music is a life-long pursuitof knowledge. If you think that you are good enough, to a potential employer that translates into"replaceable." You will encounter people who use different names for the scales/modes and chords,especially the Minor scales. I use the ones that I feel represent the sound of the scale/chord, so be aware ofdifferent terminology as it can get confusing. If you know and understand the intervals and theirrelationships, you will have no problems. There are many books and instructional materials on the marketthat would make good supplements to this book though they may not be strictly for the bass. Mostacademic instruction is geared towards music in general. These are what I would seek. There are manymore interval combinations. Some have been written and many are yet to be discovered. It is the searchingand discovering that makes the music yours.

Good luck in your pursuit of bass Nirvana!

S. Hubbell

About The Author

Scott Hubbell www.scotthubbell.com is a freelance bassist based in Northwest Kansas.He is a lesson contributor to www.BASSically.net and is a member

of the advisory board. Scott actively performs and records on 4-, 5-, 6- and7-string electric bass as well as piccolo bass, baritone guitar, and Dan-

electro 6-string "bass" guitar.

Published By:Hick Jazz Music1101 Court Pl.

Colby, KS67701

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Acknowledgments

I would like to thank my beautiful wife Kristie for her patience and encouragement throughout my career.My son Taylen for inspiring me. The whole Hubbell clan. Kerry and Barb Turner. Cliff Engel atwww.BASSically.net for the editing and for being a stunning bassist and good friend. Tom Boyles atwww.boylesdesign.com for the very cool cover artwork. Paul (Landon) Moreland. Chris (The YetiMaster) Brungardt at www.chopsfromhell.com for the title and the ideas (will send my dental bills soon).Brian Forinash (a true friend and incredible guitarist) and Dustin Engel at Midwest Music Inc. in Hays Ks.Les Brown. Dan Weller www.danweller.com. Norman and Colleen Travis. Kellie Stoelting and crew atSeymour Duncan/Basslines www.basslines.com your pickups are the best! Fred Bolton at BEE BASSESwww.beebasses.com, what else can I say besides “WOW!” Shad Sheldon for keeping me employed.Matt (Red Neck) Riggs for listening to my ideas and endless rambles. Byron Santo (yes, you are insane!).Gregory Bruce Campbell and Stew McKinsey for helping me see and hear past 6. Eddie Speedy at SITstrings www.sitstrings.com. Dan and Dave at Bassbooks.com www.bassbooks.com. Wes Watsonwww.weswatsonweb.com for the fabulous web site. Cindy Black and crew. The gang at Apria Healthcare.Hurtt Enterprises, Inc. Special thanks to Mike Dimin, Lucas Pickford, Craig Schoedler, Todd Johnson,Cliff Engel (redundant aren’t I) Adam Nitti, Norm Stockton , Jauqo III-X, Denson Angulo, John Flitcraftand Jon Pomplin. You guys truly walk among giants! And last but certainly not least, I would like to thankGod for giving me the ability to make a joyful noise and share it with the rest of the world.

Scott Hubbell plays and uses BEE BASS guitars. Basslines pickups and electronics. Hipshot D-Tuners.SWR amps and cabs. SIT strings. MusEdit. DiMarzio instrument cables. The Line6 Bass POD.SansAmp. MXR pedals. MORLEY pedals. DataSonics software. Mackie boards. Roland and Alesisrecording gear.

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Endorsements

Fretboard Alchemy is terrific! It is clear, conciseand easy to understand. I highly recommend this toolto all students of the bass. It lays out the variousscales and modes in clear visual patterns on thefingerboard so the student can learn to associate whatharmony is under his/her hands. The end result issolid understanding of what scales to use for groovesand soloing and for a bassist this understanding iscrucial.

Lucas Pickfordwww.lucaspickford.com

The material looks great; lots of info in a very precise, easy- to- follow presentation.

Ray Riendeau www.rayriendeau.com

Fretboard Alchemy is a must for bassists who are trying to get a handle on harmony--very well organized. Where was this 20 years ago?

Craig Schoedlerwww.craigschoedler.com

Scott Hubbell's "Fretboard Alchemy" is an excellent resource for anyone who is serious about learning thefingerboard and getting their harmony together. Buy it.... get to work!

Todd Johnsonwww.toddjohnsonmusic.com

Fretboard Alchemy is the most comprehensive resource addressing fingerboard harmony on 4, 5, and 6-string basses. It's thorough, practical, and most importantly, easy-to-understand. An indispensablereference tool for bassists of all levels.

Cliff Engelwww.bassically.net

Fretboard Alchemy strikes me as a solid & insightful resource for bassists, and should REALLY help a lotof players.

Norm Stocktonwww.normstockton.com

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Fretboard Alchemy is a really great comprehensive reference that would be helpful to any bass playerinterested in improving their ear training and coverage of the fingerboard.

Adam Nittiwww.adamnitti.com

Having a tool out in the market that further develops fretboard mastery is invaluable. I think it also is verycomprehensive yet also lends for more volumes.

Mike Diminwww.michaeldimin.com

With the concepts found in Fretboard Alchemy and a little imagination, even rockers like myself can findnew magic in their music. Simply put, this is a "must have" for all bass players and I give it my highestrecommendation.

Jon Pomplinwww.project814.com

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