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Bass Guitar Anatomy

Play/Explain by Numbers

Amp Anatomy

Play/Explain by Sight Reading

First Five Frets Notes First 12 Frets Notes

Play/Explain Modes Play Finger Style

Major Scale (All)

Play Tap Style

Natural Minor Scale (All)

Play Slap/Pop Style Play Pick Style

Harmonic Minor Scale (All)

Play Double Thumb/Double Pluck Style

Count/Play Whole, 1/2, 1/8 and 1/16th

By Ear 3rds, 4ths and 5ths (Sing)

Note Placement on Staff Play 1/8 notes at 120 BPM

Improvisation

Explain/Identify Key Signatures

Genre Playability

Order of Sharps and Flats

Multi-Part Bass Lines

Explain/Understand Circle of 5th

Poly- Rhythms

Play/Explain by TAB

Composition

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mechanical

 

feeling

Common Traits

Common Traits

-scales/patterns

-creative improvisation

-ear training

-natural strong ear

-style specific

-multiple styles

-memorization -fast thinking -riff catalog

-fast thinking -expanded technique -experimentation

-quick learning

-confident

-structured practice -theory knowledge -re etitive im rovisation

-structure problems -reduced understanding -diminished communication

One is not better or worse than the other. It is important to know which style you lean towards when you’re beginning and adjust your practice and playing to come to as close to center as possible. It’s common for either side to want to be on the others. Weaker traits diminish regardless of style as practice time increases. w

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Date

1/8 Notes

Triplets

Slap/Pop

fast/slow

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F

A#/Bb

Eb

G#/Ab

I F#/Gb

B

A

E

II G

C

F

A#/Bb

III G#/Ab

C#/Db

F#/Gb

B

IV A

D

G

C

V D#/Eb

A#/Bb

C#/Db

G#/Ab

VI B

A

E

D

VII C

A#/Bb

F

D#/Eb

VIII C#/Db

B

F#/Gb

E

IX D

C

G

F

X D#/Eb

G#/Ab

C#/Db

F#/Gb

XI E

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G

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3

M a j o r h a r m o n i c

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n a t u r a l

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7

2

5

8

1

4

b7

2

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8

b3

b6

6

1

4

1

j a z z

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2

5

b3

b6

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$ E 

A

F G

Name

F E 

D

C  B

 G

Note Rest  Length

whole

4 beats

quarter

W Q

eighth

E

half

sixteenth w

B  A

 C

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2 beats

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A

1 beat

S S

1/2 beat

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1/4 beat r

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e and a

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e and a

e and a

16th note  8th note  dotted 8th note 1/4 note

dotted 1/4 note  1/2 note  dotted 1/2 note 

whole note  With a foot tap a metronome a clock or anything with a beat, practice playing on specific marks between each number, or mix it up. This will help sharpen your clean playing and super accurate timing!! Mix it up and develop that grey matter!! w

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$ C

$H H $H H $H H H $ H HH H $ H HHH H $ H HHHH H $ H HHHHH w

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F H

B

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E H

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K

G

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E 

DH

B

GH

FK

CH

CK

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$ K $ K K K $ K KK K $ K KK K $ KK KK K K $ KK KK K K $ K KK e

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Fourths

Fifths

C 1 flat 

2 flat 

c l e

3 flat 

F

G 1 sharp 

Bb

D

Eb

4 flat 

A

Ab

E

5 flat 

Db

B F#

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2 sharps 

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3 sharps 

4 sharps 

5 sharps 

6 sharps 

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relative to major scale

Ionian

1! Ionian  same as major scale 2! Dorian  flattened 3rd and 7th 3! Phrygian  flattened 2nd, 3rd, 6th and 7th 4! Lydian  sharpened 4th 5! Mixolydian  flattened 7th 6! Aeolian  flattened 3rd, 6th and 7th 7! Locrian  flattened 2nd, 3rd, 5th, 6th and 7th ~

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1

~

~

~

~

~

Phrygian

Dorian

2

Lydian

3

Mixolydian

4

Aeolian

5

Locrian

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cheat

sheet

What Modes to Play over popular chords * Mode

Triad

7th

9th

11th

13th

Order

Scale

Ionian

Maj

Maj7

Maj9

Maj11

Maj13

I

Maj

Dorian

min

min7

min9

min11

min13

ii

min

Phrygian

min

min7

min7(b9)

min11(b9)

min11(b9b13)

iii

min

Lydian

Maj

Maj7

Maj9

Maj7(#11)

Maj13(#11)

IV

Maj

Mixolydian

Maj

7

9th

11

13

V

Maj

Aeolian

min

min7

min9

min11

min11(b13)

vi

min

Locrian

dim

min7(b5)

vii

dim

min7(b5b9) min11(b5b9) min11(b5b9b13)

Diatonic Scale Order I

ii w

Maj

iii w

min

IV

V

h min

vi

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Maj

vii w

Maj

min

VII h

dim

Maj

*What mode to use and when? Looking closely you’ll begin to notice you have options. For example, you can mix Ionian with Lydian in several circumstances. Same with Dorian and Aeolian. Though something may work out from a technical music theory approach doesn’t mean it will sound good nor will it fit the desired tone, mood, feel, genre or style of the music. On occasion...it just won’t work. Try something else. Though many debates may be had about what theoretically works and you may enjoy flexing your theory muscle, use your ears and don’t forget the goals of your music. w

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MAJOR

Minor

Sus4

b5

Dim

Aug

R-3-5

R-b3-5

R-4-5

R-3-b5

R-b3-b5

R-3-#5

Major 6

Minor 6

7Sus 4

Minor 7

Major 7

R-3-5-6

R-b3-5-6

R-3-5-b7

R-b3-5-b7

R-3-5-7

Major 7#5

MinMaj7

7b5

Minor 7b5

Aug7

R-3-#5-7

R-b3-5-7

R-3-b5-b7

R-b3-b5-b7

R-3-#5-b7

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Dim7

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R-b3-b5-6

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M a j o r h a r m o n i c

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n a t u r a l

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$ $ $ $ $ $ $ $ w

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