Bass Edu
Create Amazing Basslines and Progressions with Modes – Lesson 2
Now that you know the setup of the modes (View lesson 1), we are going to look at some examples of how they are played on your bass. I am going to show you how to play the modes across one, two and three strings. To keep things simple, we are going to use the C Major scale as an example.
The fingering patterns are going to be very similar across the fretboard just different frets and positions depending on where you are playing on the fretboard.
The modes that I am playing now are in standard tuning. Adjust your tuning to how you would play these modes best.
Modes really are a great way to improve your playing ability, navigate and learn your fretboard and become a more well-rounded musician.
PF: Pointer Finger
MF: Middle Finger
RF: Ring Finger
PIF: Pinky Finger
IONIAN: C (MF) – D (PIF) – E (PF) – F (MF) – G (PIF) – A (PF) – B (RF) – C (PIF)
3 String Progression Example:
A string: C (3rd fret) – D (5th fret)
D string: E (2nd fret) – F (3rd fret) – G (5th fret)
G string: A (2nd fret) – B (4th fret) – C (5th fret)
2 String Progression Example:
A string: C (3rd fret) – D (5th fret) – E (7th fret) – F (8th fret) – G (10th fret)
D string: A (7th fret) – B (9th fret) – C (10th fret)
1 String Progression Example:
A string: C (3rd fret) – D (5th fret) – E (7th fret) – F (8th fret) – G (10th fret) – A (12th fret) – B (14th fret) – C (15th fret)
DORIAN: D (PF) – E (RF) – F (PIF) – G (PF) – A (MF) – B (PIF) – C (PF) – D (RF)
You can remember this mode by the first three notes being a standard natural minor scale progression.
3 String Progression Example:
A string: D (5th fret) – E (7th fret) – F (8th fret)
D string: G (5th fret) – A (7th fret) – B (9th fret)
G string: C (5th fret) – D (7th fret)
2 String Progression Example:
D string: D (open) – E (2nd fret; PF) – F (3rd fret; MF) – G (5th fret; PIF)
G string: A (2nd fret; PF) – B (4th fret; RF) – C (5th fret; PIF) – D (7th fret; MF)
1 String Progression Example:
D string: D (open string) – E (2nd fret) – F (3rd fret) – G (5th fret) – A (7th fret) – B (9th fret) – C (10th fret) – D (12th fret)
PHRYGIAN: E (PF) – F (MF) – G (PIF) – A (PF) – B (RF) – C (PIF) – D (PF) – E (RF)
At the beginning of this mode, we have a minor 2nd interval.
3 String Progression Example:
A string: E (7th fret) – F (8th fret) – G (10th fret)
D String: A (7th fret) – B (9th fret) – C (10th fret)
G string: D (7th fret) – E (9th fret)
2 String Progression Example:
E string: E (12th fret; PF) – F (13th fret; MF) – G (15th fret; RF)
A String: A (12th fret; PF) – B (14th fret; RF) – C (15th fret; PIF) – D (17th fret; MF) – E (19th fret; PIF)
1 String Progression Example:
E string: E (open) – F (1st fret; PF) – G (3rd fret; RF) – A (5th fret; PF) – B (7th fret; RF) –
C (8th fret; PIF) – D (10th fret; MF) – E (12th fret; PIF)
LYDIAN: F (PF) – G (MF) – A (PIF) – B (PF) – C (MF) – D (PIF) – E (PF) – F (MF)
3 String Progression Example:
E string: F (1st fret) – G (3rd fret) – A (5th fret)
A string: B (2nd fret) – C (3rd fret) – D (5th fret)
D string: E (2nd fret) – F (3rd fret)
2 String Progression Example:
A string: F (8th fret; MF) – G (10th fret; PIF)
D string: A (7th fret; PF) – B (9th fret; RF) – C (10th fret; PIF) – D (12th fret; PF) – E (14th fret; RF) – F (15th fret; PIF)
1 String Progression Example:
E string: F (1st fret) – G (3rd fret) – A (5th fret) – B (7th fret) – C (8th fret) – D (10th fret) – E (12th fret) – F (13th fret)
MIXOLYDIAN: G (MF) – A (PIF) – B (PF) – C (MF) – D (PIF) – E (PF) – F (MF) – G (PIF)
Starts off like the major scale with the middle and pinky progression than goes to a minor second interval following the first and second notes.
3 String Progression Example:
E string: G (3rd fret) – A (5th fret)
A string: B (2nd fret) – C (3rd fret) – D (5th fret)
D string: E (2nd fret) – F (3rd fret) – G (5th fret)
2 String Progression Example:
E string: G (3rd fret) – A (5th fret) – B (7th fret) – C (8th fret) – D (10th fret)
A string: E (7th fret)– F (8th fret) – G (10th fret)
1 String Progression Example:
G string:G (open string) –A (2nd fret; PF) – B (4th fret; RF) – C (5th fret; PIF) – D (7th fret) – E (9th fret; PF) – F (10th fret; MF) – G (12th fret; RF)
AEOLIAN: A (PF) – B (RF) – C (PIF) – D (PF) – E (RF) – F (PIF) – G (PF) – A (RF)
The Aeolian mode is the same progression as the natural minor scale because it is the natural minor scale! If you are ever confused when writing or playing the modes know that your first mode is the major scale and that your 6th mode is the natural minor scale.
3 String Progression Example:
E string:A (5th fret) – B (7th fret) – C (8th fret)
A string: D (5th fret) – E (7th fret) – F (8th fret)D string:G (5th fret) – A (7th fret)
2 String Progression Example:
E string: A (5th fret) – B (7th fret) – C (8th fret)
A string: D (5th fret) – E (7th fret) – F (8th fret) – G (10th fret) – A (12th fret)
1 String Progression Example:
A string: A (open) – B (2nd fret; PF) – C (3rd fret; MF) – D (5th fret; PF) – E (7th fret; RF) – F (8th fret; PF) – G (10th fret; PF) – A (12th fret; RF)
LOCRIAN: B (PF) – C (MF) – D (PIF) – E (PF) – F (MF) – G (PIF) – A (PF) – B (RF)
3 String Progression Example:
A string: B (2nd fret) – C (3rdfret) – D (5th fret)
D string: E (2nd fret) – F (3rdfret) – G (5th fret)
G string: A (2nd fret) – B (3rdfret)
2 String Progression Example:
A string: B (2nd fret) – C (3rd fret) – D (5th fret)
D string: E (2nd fret) – F (3rd fret) – G (5th fret) – A (7th fret) – B (9th fret)
1 String Progression Example:
A string: B (2nd fret) – C (3rd fret) – D (5th fret) – E (7th fret) – F (8th fret) – G (10th fret) – A (12th fret) – B (14th fret)
For more information on music theory check out my e-book and paperback, “No-Nonsense Guide to Music Theory, Scales and More!” available on Amazon.
Bass Edu
BASS LINES: Triads & Inversions Part I
Triads & Inversions Part I…
Hello bass players and bass fans! In this issue, we are going to study the triads and their inversions.
It is very important for all bassists to understand and master the triads, but it is even more important to understand their different inversions.
In Part I, we are going to learn what the triad is in fundamental position.
The Formula consists of root, third and fifth.
Degrees of the Triad
Major Triad: 1 – 3 – 5
Minor Triad: 1 – b3 – 5
Diminished Triad: 1 – b3 – b5
Augmented Triad: 1 – 3 – #5
Fig.1 – The C, Cm, Cdim & Caug triads
(Fundamental Position)
Bass Edu
Premiere! Bass Playthrough With Foetal Juice’s Bassist Lewis Bridges – From the Album, Grotesque
Premiere! Bass Playthrough With Foetal Juice’s Bassist Lewis Bridges – From the Album, Grotesque
Bassist Lewis Bridges Shares…
“Gruesome’s sparse intro marks a stark contrast from the intensity of the rest of the album. The original intention was to keep the bass simple but colourful, however as I worked on it, the lines grew more expressive and the more striking flourishes began to emerge. The intensity builds into a harmonic minor passage that takes us into the drop — a signature death grind cacophony. This is where Foetal Juice thrives. You’re getting a full-on right-hand barrage to in the face to take you into a groove-laden mulch-fest.
I owe my throbbing bass tone to the Darkglass Alpha Omega pedal borrowed from our sound engineer, Chris Fielding (ex-Conan), mixed with the clarity of the tried and true Ampeg SVT CL.
As mentioned earlier, colourful basslines are important, especially in a one-guitar band. Chucking some funny intervals and odd flourishes here and there brings life into the brutality. There’s no point sounding brutal if it’s not gonna be fucking evil too!
Recording this playthrough was hard work. This was not the fault of James Goodwin (Necronautical), who was kindly filming and is ace to work with, but because in true Foetal fashion, we had stinking hangovers — and that jam room was hot!”
Follow Online
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IG @foetaljuice
Youtube: @Foetaljuice
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Foetaljuice.bandcamp.com
Bass Edu
Bass Lines: The Circle
Bass Lines: The Circle…
Hello bass players and fans of bass! This month we’re going to study “The Circle.”
The Circle of Fourths can also be called “The Circle of Fifths or just The Circle.
Practicing the scales, chords, and ideas in general via the circle has been a common practice routine for jazz musicians and highly recommended.
It is a disciplined way of working through all twelve keys.
Plus, many bass root movements to jazz and pop songs move through sections of the circle.
Fig. 1 – “The Circle”
See you next month for more full bass attack!
#bassmusicianmag, #basslines, #bmmbasslines, #groovemaniac, #thecircle, #thecircleoffourths, #thecircleoffifths,#scales & #chords.
Bass Edu
Approach Notes – Part 5
Continuing our lesson of Approach Notes, Part 5…
In continuing with the concept of approach notes being applied to chord tones, this lesson approaches the root, third, fifth, and seventh degree of each arpeggio inversion by incorporating a double chromatic approach from above, and a single chromatic approach from below.
The first examples approach the root of a G major 7th arpeggio as a double chromatic from above and a single chromatic approach from below -before continuing to the third, fifth, seventh, double chromatic from above/ single from below to the root, continue to the third, fifth, and come back down.
The next example approaches the first inversion of G major 7th arpeggio.
A double chromatic from above/ single from below approaches the third, continue to the fifth, seventh, root, double chromatic from above/ single below to the third, continue up to the fifth and seventh, and back down.
The third example approaches a second inversion of a G major arpeggio.
A double chromatic from above/ single from below approaches the fifth, continue to the 7th, root, 3rd, double chromatic from above/ single from below to the 5th, continue to the 7th, root, and back down.
This final example approaches a third inversion of a G major 7th arpeggio.
A double chromatic from above and below approaches the 7th, continue to the root, 3rd, 5th, double chromatic from above and below to the 7th, continue to the root, 3rd, and back down.
Be sure to pace yourself with these lessons to avoid burning out.
Being overly ambitious with your practice schedule can lead to unrealistic expectations. Try learning one approach note concept and one chord type a week. Change your practice routine as necessary and tailor it to your needs as a musician. Good luck!
Bass Edu
BASS LINES – The Blue Notes (Minor Blues Scale)
Hello bass players and bass fans! Happy New Year 2024!
In this issue, we are going to study the blue notes.
In blues, jazz, and rock, a blue note is a note that (for expressive purposes) is sung or played at a slightly different pitch from standard. Typically the alteration is between a quartertone and a semitone, but this varies depending on the musical context.
The blue notes are usually said to be the lowered third(b3), lowered fifth(b5) and lowered seventh(b7) scale degrees. The lowered fifth(b5) is also known as the raised fourth(#4). Though the blues scale has “an inherent minor tonality, it is commonly ‘forced’ over major-key chord changes, resulting in a distinctively dissonant conflict of tonalities”.
Blue notes are used in many blues songs, in jazz, rock and in conventional popular songs with a “blue” feeling.
Formula:
The A Minor Blues Scale
1 – b3 – 4 – (#4/b5) – 5 – b7
A – C – D – (D#/Eb) – E – Bb
The grades(blue notes):
b3, (#4/b5), b7
C, (D#/Eb), Bb
See you next month for more full bass attack!
#bassmusicianmag, #basslines, #bmmbasslines, #groovemaniac, #thebluenotes, #minorbluesscale & #bluesscale
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