BASS GUITAR

by DON COMANDA

F O R E W O R D

In the following pages different phases of the bass guitar are covered.

This is not a method but rather a lay out, from which the bass guitarist can increase his knowledge of the instrument.

It is designed to teach I V and Triad patterns as simply as possible, so that the bass player will be able to apply these patterns (create a bass line) while reading directly from a lead sheet (sheet music) or similarly arranged music.

Note names, note spelling of the triads, key signatures and movable scales are also covered. The bassist should study all of these phases carefully. They will help greatly in the creation of all bass lines.

This book is ideal for those who play six string guitar (or another instrument) and have a desire to learn a second instrument.

It may also be used by bass players who play “stand up” bass in helping them learn the I V, Triad, and scale patterns.

Copyright © 2012, Don Comanda, 1197B Rockland Ave Staten Island, NY 10314-7700 International Copyright Secured Made in U.S.A. All Rights Reserved

Published by Royal Fireworks Press, PO Box 399, 41 First Avenue, Unionville, NY 10988-0399 (845) 726-4444 fax: (845) 726-3824 email: mail@rfwp.com website: rfwp.com

ISBN: 978-0-88092-987-5

Printed and bound in Unionville, New York, on acid-free paper using vegetable-based inks at the Royal Fireworks facility.

2

CONTENTS Chord Diagram (Explanation) . Chord Symbols (Explanation) . Counting Time Fingerboard Chart Foreword Index . . . . . Key Signatures Major Scales in Diagram and Note Form . Movable Scale Forms . . . . . Notes by Name and Position . . Note Spelling of I V's and Triads . One-Five Patterns (I V) .

Rhythms: 4 (3) Four-Four Time 4 4

Six-Eight Time g (g) Scales In Diagram and Note Form

(l) (~)

Signs and Symbols, Abbreviations and Explanations Similar Chords with varied names Staff . Triads .

. 8

. 9

. 3

. 20 I

This Page .. I I I I , 12

. .. 13

... 4

. . . 21 14 through 28

(See Index for Individual Listing)

3, 5,6

. 3, 7

II , 12 . . 10 .. 10 . . 3

29 through 40 (See Index for Individual Listing)

Tuning. ....... .. .... 8

INDEX - TRIADS - I V'S (ONE-FIVES)

I TRIADS I c Db.C# D Eb(D#) E F F#-Gb G jAb(G# A IBb(A#) MAJOR 29 30 31 32 33 34 35 36 37 38 39

MINOR 29 30 31 32 33 34 35 36 37 38 39

FLAT FIVE (b5) 29 30 31 32 33 34 35 36 37 38 39

AUGMENTED (+5) 29 30 31 32 33 34 35 36 37 38 39

DIMINISHED (o7) 29 30 31 32 33 34 35 36 37 38 39

II V'sl c Db.C# D Eb(D#) E F F#-Gb G Ab(G#) A ~~(A#) IV 14 16 17 18 19 20 23 24 25 26 27

IV# 15 16 17 18 19 20 23 24 25 26 27

* I Vb 15 16 17 18 19 20 23 24 25 26 27

B.Cb

40

40

40

40

40

B.Cb

28

28

28

• The I V~'s ~y also be used for ?iminished and d iminished 7 chords. The diminished chord is indicated by a small" o" or dim. (Co) (C0 7) (C d im.) etc. Thos wolf be true of alii vb s each to their own key .

3!THE STAFF! THE STAFF is made up of 5 lines and 4 spaces.

THE STAFF is divided into BARS or MEASURES by bar lines.

/BAR LINES-----====

Ba; CA MwuSie I Bd! vr Mwwr e I Bar or Meawr e The spaces between the bar lines are called BARS or MEASURES

F CLEF (Bass Clef)

/

!couNTING TIMEI Your music will sound better rhythmically if you are able to count proper time as you play. Following, is a breakdown of various rhythms. Study them carefully.

TIME SIGNATURES The top number of

~

9 8

a ti rna signature tells us how many beats (counts) there are to each measura.

4 4

i = 4 beats (4 counts) to each maasure. each beat (count) is worth one quarter. 2 3 4 2

C = COMMON TIME. Common time is the same as i time = 2 beats (counts) to each maasure.

Each beat (count) is worth one quarter.

2 2

time = 3 beats (counts) to each meesure. Each beat (count) is worth one quarter.

2 3

time = 3 beata (counts) to each measure. Each beat (count) is worth one eighth.

2 3

time = 6 beats (counts) to each measure. Each beat (count) is worth one eighth.

2 3 4 5 6 2 3

time = 9 beats (counts) to each meeasure. Each beat (count) is worth one eighth.

2 3 4 5 6 7 8 9 2 3 4

The bottom number of a time signature tells us how much each beat (count) is worth.

3

2

2 3

2 3

4 5

5 6 7 8

4

6

9

4

NOTES BY NAME AND POSITION

1st STRING 2nd STRING

Open Open

1111 I I I Open 1st Finger 3rd Finger 4th Finger Open 2nd Finger 3rd Finger

2nd Fret 4th Fret 5th Fret 2nd Fret 3rd Fret

• • • ': • I ': I • • • G A B c D E F

3rd STRING 4th STRING

Open Open g I I I I g Open 2nd Finger 3rd Finger Open 1st Finger 3rd Finger

2nd Fret 3rd Fret 1st Fret 3rd Fret ': I ': : I • • • • • A B c E F G

NOTES BY NAME ONLY

• • EF GAB CDEFGAB C DE F G A B C . DE F

For a comeiete listing of notes by name and position, on all strings, consult the page in the center section of this hook contaming the fingerboard chart.

5

!NOTE v ALVEI The rhythm value of notes when a 4 is the bottom number of the time signature.

i ~ ~ etc. Whole note - made open - 4 counts each.

Count: 1 2 3 4

Half note - made open with a stem - 2 counts each.

Count: 1 2 3 4

r::: ............... stem

Quarter note - made closed with a stem- 1 count each.

Count: 1 2 3 4

r r r Eighth note- made closed with a stem- 2 notes to 1 beat. Eighth notes are made in groups of 4, 2 and alone with stems and flags.

Count: 1 + 2 + 3 + 4 +

2:1 F E E r== E r ~~ r' ~ stem and

""flag""

Sixteenth notes- made closed with a stem - 4 notes to 1 beat. Made in groups of 4, 2 and alone with double lines connecting them, or " "double flag".

Count: 1 Six · Teenth · Note

211 E E r E

.Dotted half note - 3 counts

Count:

Count: 1

2:1 r

2 s

EJ

2

2

v· Dotted quarter note - 1% counts

Count: 1 + 2

2"1 r· Count: 1 + 2

2:1 ~ r· Syncopation

Count: 1 + 2

2:1 ~ r Count: 1 + 2

2:1 ~ r

T N

EJ

+

~ +

+

~ +

F

3 s T N 4 s T N

'~, ~ ~ ~ stem and

double '"Flag' "

3 4

3 4

3 + 4 +

r· ~ 3 + 4 +

~ r· 3 + 4 +

~ F ~ 3 + 4 +

F ~

6

':I

':2

':I

':I

':2

':I

':I

(NOTE VALUE continued!

Dotted 8th and 16th

+ 2 + 3 + a 4 + 8

r I r • r • r • ;I ;I ;;J 16th and dotted 8th

a + 2 a + 3 a + 4 +

s· s· s· s· 8th and two 16ths

+ 8 2 + a 3 + • 4 + 8 r r F F r F F r r r r r

Two16thsand one 8th

a + 2 a + 3 a + 4 a +

E r r E r F r r r r E E 8th note triplets - Made in groups of 3 -joined together or separately, with the number 3 written above or below them.

3 3 .-----3 3

r r r E r E ~ ~ ~ r r Trip let 2 Trip let 3 Trip let 4 Trip

The notes in l!!.the different rhythms .!!lll!..Mt be the same. The notes may vary M1hiD the groups.

3

~ r F r - > r r ( • F etc. Rests - count only - do not play

Whole rest Half Rest Ouartef Rest Eighth Rest - - J ' 4 counts 2 counts 1 count %count

When a C (common time) is shown with a line through it, ¢ , it signifita cut time. All of the rhythm shown in i or common time would be given one-half its normal value. A whole note o would get two counts instead of 4.

A half note d would get one count instead of 2 . . A quarter note J would get% count instead of 1, etc., etc.

E let

7INOTE VALUE continued!

Tht rhythm wlut of notes whtn an 8 is tht bottom number of a time signature. § 8th nota 1 count 1

2'1 ~ 8th nota

Quarter note 2 counts 1

2'B r Dotted quarter note 3 counts 1

,~u r· 8th rest 1 count

16th nota 2 notes to 1 bait

2

2

F 2

2

2

3

3

F

3

F

3

3

' 1 + 2 + 3 +

16th notes and 16th rests

1

2'0 ' Dotted 8th note 1% counts

8ths and 16ths 1

,:g t Syncopation

1

2'B s 32nd notes 4 nc. h!S to 1 beat

1 ta ,:g E F

Half nota 4balts

2:B r Dotted half note 6 beats 1

+

+

+

F

ta ta

F r

s " F 2 + 3 +

r F § ~ 2 +

J

2 + 3 +

r r ---r

2 + 3

!

2 3

p p

2 3

2 3

4

4

F 4

4

r· 4

' 4

~

4

+

~

+

Ed 4 +

p·

4 +

r E 4 +

p ~

.. r 4

4

5

5

F 5

F

5

5

5

r 5

r 5

5

r

5

5 ta

E E

5

' 5

+

6 8

F

+

F

+

~

+

F

+

~

ta

F ta

r

etc.

6

6

F 6

6

6

6 +

~ ~

6 + §

~

6 +

Ed 6

F

6 +

Ed .

6

~

6

' 6 Remember: Tht rhythm value is the same for ~ . time. Instead of counting 1 2 3 4 5 6 as in ~ time, count 1 2 3, 1 2 3 etc.

J

8

Fingers Are Numbered

THE CHORD DIAGRAM

The chord diagram is also used for indicating scales and patterns used in this book.

Circled numbers show fingers, and positions in which they are placed.

o = open string (string is played with no fingers on it.

String(s) marked X are not played .

I

I F·~t~9:,, ~4 5 4 3 2 1

Strings

TWO WAYS TO TUNE

THE BASS GUITAR

THE Fl RST METHOD IS WITH A PITCHPIPE: Blow the pitchpipe one note at a time, until each string is the same in sound to the corresponding note on the pitchpipe.

The note highest in pitch is tuned to the first string {G). The second highest in pitch is tuned to the second string {D). Continue this. way tuning "A" to the 3rd string and finally "E" to the 4th string.

ANOTHER METHOD: i 1~ Tune the first string to a meduim {clear) pitch, then: V 2 Place your finger in the 5th fret of the 2nd string, Frets ~ 3 it should sound like the 1st string open. If not, raise or lower the 2nd string accordingly, then: '- 4 Place your finger in the 5th fret of the 3rd string. It should sound the same as the 2nd string open. If not, adjust 5 3rd string. 4 3 2 1 Place you finger in the 5th fret of the 4th string. It should sound like the 3rd string open. If not adjust 4th string. Strings

9

EXPLANATION OF CHORD SYMBOLS

C, Ab Bb G, etc. are major chords (C major) Ab(b5), C#(b5), O(b5), B(b5), etc. are major chords with a flatted fifth (Ab major flat fiv e) em, Gbm, Om, Fm, etc. are minor chords (C minor) G+, F+, Ob+5, B+, etc. are augmented chords (G augmented fifth) C0(7), A0(7), F#0(7), Bbo(7), etc. are diminished seventh chords (F sharp diminished seventh) co, AO F#O, Bbo etc. are diminished chords. Notes may (A diminished)

' be used similarly to those found in the diminished seventh chords.

F6, Ab6, G6, F#6, etc. are major sixth chords (A flat major sixth) Gm6, Om6, Bbm6 , Ebm6, etc. are minor sixth chords (G minor sixth) Cadd9, Abadd9, F#add9, Eadd9, etc. are major chords with an added ninth (E major add nine) CmMaj7, F#mMaj7, GmMaj7, etc. are minor chords with an added (C minor major seventh)

major seventh Abmaj7, Omaj7, C#maj7, Amaj7, etc. are major seventh chords (0 major seventh) Abmaj9, Omaj9, F#maj9, Obmaj9 etc. are major ninth chords (D flat major ninth) Om(b5), Gbm(b5), C#m(b5), etc. are minor chords with a flatted fifth (Gbminor flat five) Cm7b5, Gm7-5, Abm7b5, etc. are minor seventh flat five chords (C minor seven flat five) Bb7, Ob7, B7, G7, etc. are dominant seventh chords (B flat dominant seventh) C7/6, Ab7/6, G7/6, F#7/6, etc. are dominant seventh chords with an (C dominant seventh add 6)

added sixth F9, 09, Bb9 F#9, etc. are dominant ninth chords (F dominant ninth) 09/6, Gb9/6, B9/6, C#9/6, etc. are major sixth chords with an (C sharp six-nine) (C sharp nine-six)

added ninth 013, Eb13, A13, Bb13, etc. are dominant thirteenth chords (E flat dominant thirteenth) C7b9, C#7b9, Bb7b9, E7b9, etc. are dominant seventh flat nine chords (B flat dominant seven flat nine) A7#9. B7#9, Eb7#9, F#7#9, etc. are dominant seventh sharp (A dominant seven sharp nine)

nine chords A+ll, F#+ll, 0+11, etc. are (dominant) augmented eleventh (A augmented eleventh)

chords Gl3b9, Ab13b9, B13b9, etc. are dominant thirteenth flat nine (G dominant thirteen flat nine)

chords Am7, Gm7, Ebm7, Gbm7, etc. are minor seventh chords (Gb minor seventh) Cm9, Abm9, Gm9, Fm9, etc. are minor ninth chords (G minor ninth) Dm9sus:, Fm9sus, cbm9sus, Ebm9sus, etc. are minor ninth chords with the (Eb minor nine suspend four)

fourth suspended (with the third) Amll, obmll, F#mll, Cmll, etc. are minor eleventh chords (0 flat minor eleventh) Am7sus4,0bm7sus4, F#m7sus4, Cm7sus4, etc. are minor seventh suspended fourth (F sharp minor seventh suspend four)

chords Csus, Bbsus, F#sus, Asus, etc. are major chords with a suspended (C major suspend four)

fourth All, Gll, C#ll, Bbll, etc. are dominant eleventh chords (B flat dominant eleventh) A7sus4, G7sus4, C#7sus4, Bb7sus4, etc. are dominant seventh chords with a (I! flat seven suspend four)

C9sus, G9sus, Ab9sus, cb9sus, suspended fourth

etc. are dominant ninth chords with a (C dominant ninth suspend four)

Ab7+, suspended fourth (no third)

F7+, 07+5, G7+5, etc. are dominant seventh augmented (D dominant seven augmented fifth) fifth chords

G7+b9, C7+b9, F#7+b9, etc. are dominant seventh augmented (G dominant seven augmented fifth flat nine) fifth flat nine chords

A7+#9, Eb7+#9, 07+#9, etc. are dominant seventh augmented (A dominant seven augmented fifth sharp nine)

Gb9+, F#9+, fifth sharp nine chords

A9+5, etc. are dominant ninth augemented fifth (G flat nine augmented fifth) chords

Bb7b5, G7b5, 07b5, C#7b5, etc. are dominant seventh flatted fifth (G dominant seven flat five) chords

Ob7b5b9, A7b5b9, C#7b5b9, C#7-5-9, etc. are dominant seventh flat five flat (D flat dominant seven flat five flat nine) nine chords

Ab7b5#9, C7b5#9, Gb7b5#9, C#7b5#9, etc. are dominant seventh chords with a (A flat dominant seven flat five sharp nine) flatted fith and a raised ninth

09b5, Ab9b5, C#9b5, etc. are dominant ninth flat five chords (D dominat nine flat five) B13b5, Ob13b5, E13b5, cb13b5, etc. are dominant thirteenth chords (B dominant thirteen flat five)

with a flatted fifth Bb13b5b9, D13b5b9, C#l3b5b9, etc. are dominant thirteenth flat five (B flat dominant thirteen flat five flat nine)

flat nine chords

10

Similar Chords which may be shown with varied names:

A major chord shown as A major chord with a

suspension shown as A minor chord shown as An augmented chord shown as A diminished chord shown as A sixth chord shown as A sixth chord shown as A seventh chord shown as A seventh chord 'shown as A seventh chord shown as A seventh chord shown as A ninth chord shown as A ninth chord shown as A ninth chord shown as An eleventh chord shown as An eleventh chord shown as A thirteenth chord shown as

Example

F

Dsus Gm F+ co A6 Bbm6 Gmaj7 B7 Abm7 F7+ Gbmaj9 D9 Dbm9 Ebll cbmll E13

may also be written

may also be written may also be written may also be written may also be written may also be written may also be written may also be written may also be written may also be written may also be written may also be written may also be written may also be written may also be written may also be written may also be written

.Example

F major, Fmaj

Dsus4,DaddG G minor,Gmi F+5,Faug Ci>7, Cdim, Cdim7 Ama6,Amaj6 Bbmi6 GM7,Gma7 Bdom7 Abmi7 F+7,F7+5,Faug7 Gbma9,GbM9 Odom9 Dbmi9 E~7sus4, Eb7susAb, (Eb9sus) cbmill, cbm7sus4, (Cbm9sus) Edom13

A minor major seventh chord may be written A seven flat five chord may be written

FmMaj7, Fm1Maj7 , FmM7, Fm+7, Fm#7 C7b5,C7-5

A seven flat nine chord may be written A seven sharp nine chord may be written A seven flat five flat nine chord may be written A seven flat five sharp nine chord may be written A minor seven flat five chord may be written An augmented seven flat nine chord may be written An augmented seven sharp nine chord may be written A nine flat five chord may be written A nine augmented five chord may be written An augmented eleventh chord may be written A thirteenth flat five, flat nine, flat five flat nine

chord may be written

A major chord with a flat fifth

C7b9, C7-9, C9b A7#9 A7(+9) 07b5~9, 07-5-9 B7b5#9, B7 -5#9 Abm7b5,Abm7-5 07+5b9,0+7b9,D+7-9 C7+5#9,C+7#9,Caug7#9 C#9b5, C#9-5 A9+5,A9+ F+ll, F7#11, Fll+

G13b5,G13-5/G13b9,G13-9/Gl3b5b9,Gl3-5-9

shown as C(b5) may also be written C(-5) A major chord witn an added

ninth shown as Abadd9 may also be written Ab(addBb) A minor chord with a flat five

shown as F#mb5 may also be written F#m(-5)

Explanation of Signs and Symbols (Abbreviations)

-=Flat b = Flat. (Also indicated by a hyphen.) #=Sharp + = Augmented m or mi = minor Maj or Ma or M = Major o =Diminished (also indicated by dim.) co7 or Cdim7 = C diminished 7 sus.= suspend (suspension) C7+b9 would be read C seven augmented (fifth) flat nine. D7sus4 would be read 07 suspend 4 x = do not play string marked x.

11

C (A Minor) Major

A (F# Minor) Major

IKEY SIGNATURESI THE MAJOR KEYS AND THEIR RELATIVE MINOR

G (E Minor) Major

D (8 Minor) Major

121• Ff'MP 12: f1 fi'":!,':et E (C# Minor)

Major B (G# Minor)

Major ,:,,# ~~~ c ..•• I'' •••• ~~·~·a 12' •••• , ::· 4 ,G# ,C# ,A# C # (A# Minor) F# (D# Minor)

Major

F (D Minor) Major

A~ (F Minor) Major

B~ (G ~inor) Major

Major

U (C Minor) Major

D~ (8~ Minor) Major

2: pbfbP :E":b Ab Db Gb (E ~ Minor)

Major

C~ (A~ Minor) Major

2: ib',b gc~;b Ali oli a& e&

Fingering:

3

. ,: •

Note Names: .C

F# C#

MAJOR SCALES IN DIAGRAM AND NOTE FORM

Follow fingering in diagram, string by string, raading from left to right. Do Not changa strings until fingering on each string is completed. Then play in exact reversa order. Each scale written in nota form, corresponds exactly to its respective diagram, both ascending (low to high in note form, left to right in the diagram) and descending (high to low in note form, right to left in the daigram.)

c G 0 0 0 0 0

'I 'I ~ 2 2 l 2 2 Frets- 3 3 3 3 3 3 ~4 4 4 5 • 5 0 2 3 0 1 3 4 3 1 0 3 2 0 3 F# 3 0 2 3 0 2 4 0 4 2 0 3 2

• • • ~ .. . • • • I ,, . • • • • • • • • • • • • • • • • • • D E F G A B c B A G F E D c GAB CD E F# G F# E D c B

D A t __ o-j 0 0 2 __ HUO ll 3 _ _,~ ~ 2 2 4-~~D 4 4 4 6_~l 5 6---1- 3) 7 _.._jil

0 2 4 0 1 1 3 4 3 1 1 0 4 2 0 F# C# G#

0 2 4 0 2 4 1 2 1 4 2 0 4 .... .a. ....

':§# • • • • • • • • • • • • •

0

• A

2

• D E F# G A B C# D C# B A G F# E D A B C# D E F# G# A G# F# E D C# B

3

• I .

G

0

• I A

12MAJOR SCALES

IN DIAGRAM AND NOTE FORM - Continued

E B

'I 11 ~ 2 2 2 2 2 3 3 4 4 4 ~ . . . 5 0 2 4 0 2 4 1 2 1 4 2 0 4 2 0 F# C# G# 2 4 1 2 4 1 3 4 3 1 4 2 1 4 2

F#C#G#D# i>#A#

''5-• I 2'5#• • • • • • • • I • • • • • • • • • • • • • • • • • • • # .... • ... E F# G# A B C# D# E D# C# B A G# F# E B C#D# E F#G#A#BA #G #F# E D# C# B

F# a

'I :g 2 2 3 3 3 3 1 : .. 4 • • 5 3 F# C# G# F#C#G# 6 •

D#A# E# 2 4 1 2 4 1 3 4 3 1 4 2 1 4 2 D#A#E#B# 4 1 3 4 1 1 3 4 3 1 1 4 3 1 4

': 1##1 # I ,, 1##1##1 • • • • •• • • I • • • • • • • • • • • • • • # • • • • • • • •

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

F B" 0 0 0 0

'I 'I 2 2 2 2 r 3 3 : 3 3 3 B~ 1 3 0 1 3 0 2 3 2 0 3 1 0 3 1 B~ Eb 1 3 0 1 3 0 2 3 2 0 3 1 0 3 1

':~ I 2: ~I· • • • • • I • • • • • • • • • • • • • • • • • • • • • • • • •

F G A Bb C D E F E D c Bb A G F Bb C DEb F G A Bb A G F Eb D c Bb

E~ A~ ,,-1

2f- ;I 3f- 1)(() 4f- 3 3 3 5f- 3 1 4 • • 6r-- • 5 7r-- 3 r-- • 8._

1 1 3 4 1 1 3 4 3 1 1 4 3 1 1 BbEbAbDb4 1 3 4 1 3 0 1 0 3 1 4 3 1 4

BbEbAb .... .._ ~ .._ ... ':~& • • •

• • • I ,=,1· ~ • •• • • I • • • • • • • • • • • It It • • • Eb F GAbBbC D Eb D C Bb Ab G F Eb AbBb CD b Eb F GAbG FEb Db C Bb A b

D~ G~

li 'I 2 2 2 3 3 3 3 4 • 4 : • 4 4 5 3 6 • Bb EbAb BbEbAb 4 1 3 4 1 1 3 4 3 1 1 4 3 1 4 2 4 1 2 4 1 3 4 3 1 4 2 1 4 2 DbGb ..... .._ .... DbGb cb ':~I· I; • • • • I ,, ~fi p & • • • • • • t • • • • • • • • • • • • h' '"' • • Db Eb F Qi;AbBb C Db C BbAb Gb F Eb Db GbAb Bb CbDb Eb F Gb F_ Eb Dbcb BbAb Gb

c~

ll 2 2 3 3 BbEbAb : 4 •• Dbob cb Fb 2 4 1 2 4 1 3 4 3 1 4 2 1 4 2

2' .~PI • • ...... • I • • • • • • • & ~t~ •

cb DbEb FbGbAb Bb cbBbAbGb FbEb Dbcb

Untitled