RH Bass Me Print Ready 4 With Diagrams

Presents
BASS
Learn
Master Edition
Written & Method By:
John McCarthy
Adapted By: Jimmy Rutkowski

Supervising Editor: John McCarthy
Music Transcribing & Engraving: Jimmy Rutkowski
Production Manager: John McCarthy
Layout, Graphics & Design: Jimmy Rutkowski
Photography: Jimmy Rutkowski, Rodney Dabney
Copy Editors: Cathy McCarthy & Cathy McCarthy
Cover Art Direction & Design:

Jimmy Rutkowski
HL00156775
ISBN: 978-1-4950-5943-8
Produced by McCarthy Publishing®
© 2016 John McCarthy, All Rights Reserved
Bass Course Book 1_MASTER FILE_EDITED_1+30+12__14pt text.indd 1 12/30/15 11:21 PM

Table of Contents
Using The Lesson Support Site..................... 3 Songs Using the 1-5-6-4 Progression......... 24
Words from the Author................................... 3 Intervals – The Half Step............................. 25
Digital eBook................................................. 4 Sharps and Flats......................................... 25
Icon Key........................................................ 4 The Chromatic Scale................................... 25
Parts of the Bass........................................... 5 Notes in the First Position........................... 26
Holding the Bass........................................... 6 5ths.............................................................. 27
Attaching Your Strap...................................... 7 Rock Climbing............................................. 28
Finger Numbers............................................. 8 The Mission................................................. 28
Muting............................................................ 8 How to Read a Scale Diagram.................... 29
Names of the Open Strings & Tuning ........... 8 Minor Pentatonic Scale .............................. 30
Reading Tablature......................................... 9 Minor Pentatonic Single Note Pattern......... 31
Alternating................................................... 10 Practice Tips................................................ 31
Timing Explanations – Note Values............. 10 The 4 Chord Song Progression Part 2........ 32
Rhythm Tab................................................. 11 Clockwork.................................................... 32
The Metronome........................................... 11 Minor Pentatonic Scale .............................. 33
The Musical Alphabet ................................. 11 Minor Pentatonic Single Note Pattern ........ 34
Numbers for Chord Progressions................ 11 Ode to Joy................................................... 35
Major 1 - 5 Progression............................... 12 Blues Riff Rhythm........................................ 36
Your First Bass Line.................................... 13 Blue Velvet.................................................. 37
Time Signatures.......................................... 13 Triplets......................................................... 37
Counting Beats............................................ 14 Triplet Pattern.............................................. 38
Counting with a Drum Beat......................... 14 Staccato...................................................... 40
1 - 4 - 5 Progressions.................................. 15 Staccato Groove.......................................... 40
Rhythm – Playing with the Drums............... 15 Street of Dreams......................................... 41
Blues In A.................................................... 16 The Major Scale.......................................... 41
Shuffle Feel................................................. 16 Major Triads................................................. 42
Blues Shuffle Progression........................... 17 Dotted Quarter Notes.................................. 42
Gear Shifter................................................. 18 Cherry Sky................................................... 43
Finger Flexing.............................................. 18 Minor Triads................................................. 44
Hit it Hard.................................................... 19 Unbreakable................................................ 45
Rockin the Bells........................................... 20 Major & Minor Triads................................... 46
Eighth Notes................................................ 21 Octaves....................................................... 47
Rhythm – Playing Eighth Notes................... 22 Octave Rock Progression............................ 48
Rests........................................................... 22 The Chase................................................... 48
Open String Bass Progression.................... 23 Minor Pentatonic Scale .............................. 49
Riff Challenge.............................................. 23 Minor Pentatonic Triplet Pattern.................. 50
Royal Rock.................................................. 24 Black Pearl.................................................. 51
A Day At the Beach..................................... 24 Finger Flexing #2......................................... 51

Epic Sun...................................................... 52 Heavy Bass Progression............................. 58
Using a Pick................................................ 53 Single Note Riff Rhythm.............................. 58
Palm Muting................................................ 53 Word Search................................................ 60
Rockit Center............................................... 54 Musical Words............................................. 61
Basic Slap & Pop Technique....................... 55 Crossword Puzzle....................................... 62
Slap & Pop Exercise.................................... 56 Changing a String........................................ 63
Applying the Slap & Pop Technique............ 56 Bass Triads.................................................. 65
Warm Up Exercises..................................... 57
Book 2 Starts At Page 73

Member Code Page 148
Using The Lesson Support Site
Every Rock House product offers FREE membership to our interactive Lesson Support site. Use the
included member number found on the last page of this book to register at www.rockhousemethod.
com. Once registered, you will use this fully interactive site along with your product to enhance your
learning experience, expand your knowledge, link with instructors, and connect with a community of
people around the world who are learning to play music using The Rock House Method®. There
are sections that directly correspond to this product within the Additional Information and Backing
Tracks sections. There are also a variety of other tools you can utilize such as Ask The Teacher,
Quizzes, Reference Material, Definitions, Forums, Live Chats, Guitar Professor and much more.
Words from the Author

Playing music is a rewarding art form that will last you a lifetime, I discovered that fact shortly after I was
given my first instrument. I have spent my career sharing the passion I have for music with others. With
my teaching method, I truly believe you too will enjoy years of fun and will pass on the passion you dis-
cover. If you follow the method step-by step you will be successful and enjoy playing bass for years to
come. When I designed The Rock House Method, my mission was to create the most complete and fun
way to learn. I accomplished this by developing and systematically arranging a modern method based on
the needs and social demands of today’s players. I not only tell you where to put your fingers, I show you
ways to use what you learn so that you can make music right from the start. I know it is hard to imagine,
but even the all-time greats started somewhere, there was a time when they too didn’t even know what a
chord was. As you progress as a bass player, keep your mind open to all styles of music. Set-up a practice
schedule that you can manage, be consistent, challenge yourself and realize everyone learns at a differ-
ent rate. Be patient, persistent and remember music is supposed to be fun!
NOW, GET EXCITED, this is it. YOU are going to play bass!
John McCarthy
3

Icon Key
These tell you there is additional information and learning utilities available at RockHouseSchool.com
to support that lesson.
Backing Track Metronome

Backing track icons are placed on Metronome icons are placed next to
lessons where there is an audio the examples that we recommend
demonstration to let you hear what you practice using a metronome.
that lesson should sound like or a You can download a free, adjustable
backing track to play the lesson over. metronome on the Lesson Support
Use these audio tracks to guide site.
you through the lessons. This is an
mp3 CD, it can be played on any
computer and all mp3 disc
compatible playback devices.
Backing Each
Track
level of the curriculum
contains multiple quizzes to gauge
your progress. When you see a quiz
icon go to the Lesson Support site
and take the quiz. It will be graded
Worksheet and emailed to you for review.
Worksheets are a great tool to help Tuner

W
you thoroughly learn and understand
music. These worksheets can be You can download the free online
downloaded at the Lesson Support tuner on the Lesson Support site to
site. help tune your instrument.
Digital eBook
When you register this product at the

lesson support site RockHouseSchool.
com, you will receive a digital version of
this book. This interactive eBook can be
used on all devices that support Adobe
PDF. This will allow you to access your
book using the latest portable technology
any time you want.

Parts of the Bass W
A bass is made up of three main sections: the body, the neck and the headstock. All of
the other parts of the bass are mounted on these three sections.
Body Neck Head
The bridge is the assembly that anchors the strings to the body. Pickups are also
mounted to the body and work like little microphones that pick up the sound from the
strings. A cable is plugged into the bass’s input jack to send the signal into the amp. Most
bass guitars will also have a pickup selector switch along with volume and tone knobs. A
strap can be attached to the strap buttons to play the bass standing up.
The metal bars that go across the neck are called frets. The dots between certain frets
are called position markers and help you know where your hand is on the neck while
playing. At the end of the neck is the nut which guides the strings onto the headstock and
keeps them in place. On the headstock, the strings are wound around the tuning posts,
and the tuners (also called machine heads) are used to tune the strings to pitch.

Machine Headstock
Head
Nut
Neck
Frets
Strap Position
Button Markers
Body
Volume
& Tone Knobs
Pickups
Bridge Input
Jack
Holding the Bass

Throughout this book, we will refer to
the picking hand as your right hand,
and the hand fretting the notes as
your left hand. When sitting find a
comfortable chair with no arms and
make sure you can sit with your feet
planted flat on the ground. Hold the
bass neck up at a 30 degree angle.

Right Hand Position
Drape your arm and hand over the strings almost
parallel with the bridge. Keep your thumb planted
either on top of the pickup or thumb plate if your
bass has one.
Left Hand Position
Hold your left hand out in Place the first joint of your
front of you with your wrist thumb against the back of
straight and your fingers the neck. Don’t bend or
curled in to make a “C” contort your wrist; only the
shape with your hand. tips of your fingers should
touch the strings.
Attaching Your Strap

To stand up and play you must attach a strap to your bass. Most bass guitars have strap
buttons on both sides of the body of the bass. Simply attach the strap to each side of the
bass at these buttons.

Most straps are adjustable and should be set to a comfortable height. A good starting point
is to look at how the bass rests against your body when sitting down and duplicate
this position when you stand up. You may think it looks cooler to have the bass
positioned lower (like some of your favorite bassists) but at this stage it will make
learning more difficult. Remember that you should always have the neck of your bass
pointed up at about a 30 degree angle (sitting or standing) to ensure proper hand
position.
Finger Numbers W
As you progress through this book I will
be referencing your left hand fingers
with numbers. It is very important for
you to memorize these now so you can
follow along with ease. To the right are the
numbers that correspond with your fingers.
Fretting hand:
Index finger = 1 Middle finger = 2
Ring finger = 3 Pinky finger = 4
Muting
Muting is a technique that helps you
control the strings from unwanted notes and
string noise. The basic concept is to lightly
touch your hand on the strings that you are
not playing. You can do this with your left
or right hand. Play the next exercise and as
you switch strings mute or deaden the other
strings so only the string you are playing is
sounded.
Names of the Open Strings & Tuning

The fattest string is the 4th string and the thinnest is the 1st string. A great way to
remember the open strings is to use an acronym creating a word for each letter name. The
following is an acronym I created: Good – Days – Are – Exciting. Make up you own
saying for the open strings.
8

(Thinnest) (Thickest)
1st String 2nd String 3rd String 4th String
G D A E
Tune your bass using the machine heads on the

headstock. Turn the machine heads a little bit at a
time while plucking the string and listening to the
change in pitch. Tighten the string to raise the pitch.
Loosen the string to lower the pitch. The easiest way
to tune a bass is to use an electronic tuner. You can
download a free tuner from the Lesson Support site
RockHouseSchool.com.
Reading Tablature W
Tablature (or tab) is a number system for reading bass sheet music. The four lines of
the tablature staff represent each of the strings on the bass. The top line is the thinnest
(highest pitched) string. The bottom line is the thickest (lowest pitched) string. The
numbers placed directly on these lines are the fret number to play each note.
Underneath the staff, is a series of numbers. These numbers tell you which left
hand finger to fret the notes with.
Fret To Play Note On First String (Thinnest)

MEASURE
{
1 2 3
1 3 2
5 6 7
3 2 1
1 2 3 1 3 2 1 2 3 3 2 1
Fourth String (Thickest) Finger To Use

BAR
LINE

Repeat Sign Brackets
Plucking Symbols
Repeat Sign 
 
= Index Finger

Brackets Repeat all measures
between brackets
= Middle Finger
Alternating
Alternating is picking (plucking) with your index and middle fingers repetitively. You can
play notes effectively and with speed by using your fingers in this manner. Play through

the exercise below using open strings in four note patterns:
  0 0 0 0 0 0 0 0
     
0 0 0 0 0 0 0 0


etc.
 
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0

   
Timing Explanations – Note Values W

The Parts of a Note The Types of Notes
   

The HEAD

The STEM
Whole Half Quarter Eighth
The FLAG Note Note Note Note
10

Rhythm Tab Whole Notes Half Notes Quarter Notes
Throughout this book you will (held for 4 beats) (held for 2 beats) (held for 1 beat)
see that many of the tablature
staffs have rhythms written with 3 5
the notes. These will tell you how 0 0 5
long each note should ring. Here 0 3
is what the rhythmic notations
look like on the tab staff. Count: 1 2 3 4 1 2 3 4 1 2 3 4
The Metronome
A metronome is a device that clicks at an adjustable rate you set. It will help you develop
a sense of timing and gauge your progress. By playing along with the “clicking” sound
you get the sense of playing with another musician. Each click represents one beat. I will
note the best times to use a metronome throughout this program with a metronome icon.
If you don’t have a metronome you can download one for free from the Lesson Support
website.
The Musical Alphabet

The musical alphabet consists of seven letters A through G. After G the letters loop back to A and
start over again. There are no letter names in the musical alphabet higher then G.
A-B-C-D-E-F-G
Numbers for Chord Progressions
When progressions are presented in music numbers are used that corresponds with
the position the chord has in the scale. For example the Major 1 – 5 Progression in the
next lesson goes from C to G chords. Starting with C the G is 5 letter names higher.
C-D-E-F-G
1 5
11

Major 1 - 5 Progression
Now take the C and G notes and play a 1 – 5 progression using whole, half and quarter
notes. Use alternate picking on the half and quester note variations using your index and
middle fingers. Make sure to play these progressions along with the backing track to help
you get used to playing with other musicians in a band fashion.
Whole Notes
C -1 G -5 C -1 G -5
3 3
3 3
   
Finger: 3 3 3 3
Half Notes
C -1 G -5 C -1 G -5
3 3 3 3
3 3 3 3
Finger: 3
Quarter Notes
C -1 G -5 C -1 G -5
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
Finger: 1 2 1 2
etc.
12

Your First Bass Line
Get excited! It’s time to learn your first bass line. This bass line is played using alternate
plucking in steady quarter notes. Follow the tablature below and be sure to use the
proper finger for each note. Once you can play this without hesitation play it along with the
backing track to create a full band sound.

  0 0 0 0 3 3 3 3
    1 1 1 1

etc.
 5 5 5 5 0 0 0 0 
3 3 3 3
Time Signatures
Time signatures are written at the beginning of a piece of music. The sole function of a time signature is
to tell you how to count the music. The top number tells you how many beats there are in each measure
and the bottom number tells what type of note receives one beat. Time signatures will be used where
specific timing is indicated in this book.

 = Number of beats per measure.
= A quarter note receiving one beat.
Indicates four beats Indicates three beats

per measure. per measure.


Indicates four beats Four beats per measure.
per measure. Also known as “common time.”
13

Counting Beats
A beat is the basic unit of time in music. A common way to count beats is to tap your foot.
One beat would equal tapping your foot down-up. Tap your foot and count 1 – 2 – 3 – 4
repetitively, say each number as your foot hits the ground. You will learn different note
types that tell you how many beats to let notes ring.
Foot Down Foot Up
Counting with a Drum Beat

Now you will count along with a drum beat. The drum beat used for this lesson is the
most common timing 4/4. This means it is divided into four beat sections (or measures).
Notice the 4/4 at the beginning of the staff below, this will be on all music that is in this
time signature. As the drum beat is playing count 1 – 2 – 3 – 4 and repeat this count.
ody The 1 & 3 are counted when you hear the bass drum which is the big bass toned drum;
while 2 & 4 are counted on the snare drum which is the higher pitched drum that has a
bit of rattle to its sound.
hen
n-up

ead

sic. Count: 1 2 3 4 1 2 3 4
king Bass Snare Bass Snare Bass Snare Bass Snare
r on Drums:
Drum Drum Drum Drum Drum Drum Drum Drum
ece;
ally
ar it
und.
14

1 - 4 - 5 Progressions
The 1 – 4 – 5 progression is one of the most popular in music over the past 60 years.
This progression can be found in countless hits from the 60’s like Wild Thing to the 80’s
in songs by the Ramones and more recently in many songs by bands such as Green
Day. Below is this progression in the keys of E and C.
KEY OF “E”
E -1 A -4 B -5
0 0 0 0 2 2 2 2
0 0 0 0 0 0 0 0
Finger: 2
etc.
KEY OF “C”
C -1 F-4 G -5
3 3 3 3 3 3 3 3
1 1 1 1 3 3 3 3
Finger: 3 1 3
etc.
Rhythm – Playing with the Drums

In a drum beat the bass drum and snare drum are the back bone of the beat. You must
learn the sound of these drums because you will play along with them to create a solid
foundation for songs.
You will play along with the bass and snare drum. The bass drum still hits on beats 1 and
3 while the snare drum hits on beats 2 and 4.
 
  5 5 5 5 3 3 3 3

Beat: 1 2 3 4 1 2 3 4
Count: B S B S B S B S
15

Blues In A
Blues has influenced almost every genre of music. A basic understanding of the blues
will give you a great advantage as a bassist. The following blues progression is played
using a series of open strings. This is a 12 bar blues progression which means it consists
of 12 measures. This progression should sound familiar; it’s the foundation for many rock
and blues songs.
First play through the progression with a straight feel, which is an even steady pattern.

Make sure to use alternate plucking.
 
A
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
      etc.
D A

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0


E A
 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Shuffle Feel
The shuffle feel is an uneven rhythm that creates a sway to a song. This rhythm is found
 
in countless blues and rock songs. Play the measure below using the open 3rd string to
get familiar with this rhythm feel, the way the notes are spaced depicts the timing.
  0 0 0 0 0 0 0 0 
Count: 1 a 2 a 3 a 4 a
16

Blues Shuffle Progression
Now apply the shuffle feel to the blues progression. The shuffle feel is also called the
swing feel. Pay close attention when going to each new measure, the last note of each
measure should flow to the first note of the new measure seemlessly.

 
A
0 00 00 00 0 0 00 00 00 0 0 00 00 00 0 0 00 00 00 0
        etc.
D A

0 00 00 00 0 0 00 00 00 0
0 00 00 00 0 0 00 00 00 0

0 0 0 0 0 0 0 0
E A
 0 00 00 00 0 0 00 00 00 0
0 00 00 00 0
Music Assignment
Listen to your favorite music and try to hear the blues influence. There
is a blues influence in almost every genre of music. After you play this
rhythm with both a straight and shuffle feel you will easily play the blues
feel in songs you learn in the future.
Learn Bass 1 - Quiz 1

Once you complete this section go to RockHouseU.com and take the quiz
to track your progress. Use the Member Code found on the last page to
register.
17

Gear Shifter
The following is a quarter note bass line. Make sure to use alternate plucking.
 
  5 5 5 5 3 3 3 3 0 0 0 0
3 3 5 5 
Finger: 3 1 1 3
   
Count: 1 2 3 4
etc.
Finger Flexing
Here is an exercise that will help develop the strength and coordination of your hands.
This exercise is a 5 – 7 – 6 – 7 fret pattern repeated on each string. You should
use alternate plucking continuously. There are two plucking patterns below the staff.
Make sure to practice both patterns. Take your time and increase your speed in small
increments. This would be a great lesson to play along with a metronome.
       
       
4x 4x 4x 4x

5 7 6 7
5 7 6 7
5 7 6 7
5 7 6 7
    etc.
1 3 2 3
Plucking
 
Pattern 1:
Plucking
Pattern 2:
Music Assignment
Once you can play this pattern smoothly across all four strings move it one
fret lower starting on the 4th fret and playing frets 4 – 6 – 5 – 6 down each
string. The distance between the frets gets wider as you move toward
the nut; this will help stretch your hands reach to play difficult passages
in songs. Keep moving it down as you feel comfortable with the fret
position until you reach the first fret.
18

       
       
4x 4x 4x 4x

4 6 5 6
4 6 5 6
4 6 5 6
4 6 5 6

1 3 2 3
etc.
Hit it Hard
Here is another bass line to challenge your fingers. Once you can play this steady all the
way through play it with the backing track to apply it in a band fashion. Again there are
two plucking patterns below the staff. Both patterns are alternate plucking, the difference
is that one begins with your index finger and the other with your middle finger.

  0 0 0 0 3 3 3 3
0 0 0 0 2 2 0 2
   
Finger: 2 2 2 2 1 1 1
Plucking
etc.
   
Pattern 1:
Plucking

Pattern 2:
 0 0 0 0 3 3 3 3
0 0 0 0 3 2 
2 2 2 2 2 1
Inspirational Quote
“The biggest room is the room for improvement.”
Chinese Proverb
19

Rockin the Bells
As a bass player you will play many songs where your main job is to create a solid
foundation and rhythm for a melody. In this song you will be doing this for the popular
melody Jingle Bells. Make sure to use the backing track that contains the melody to
create a full sounding song structure.
3 3 3 3 3 3 3 3
Finger: 1
3 3 3 3 5 5 5 5 5 5
3 3 3 3
1 1 3 3
3 3 3 3 3 3 3 3
1
3 3 3 3 5 5 5 5
3 3 3 3 3
1 1 3 1
Inspirational Quote
“Obstacles are those frightful things we see when we take

our eyes off our goals.”
Chinese Proverb
20

Eighth Notes
An eighth note receives ½ beat of sound and divides a quarter note in half. For every
one beat you will hit two notes. You will also use a different kind of counting. Instead of
one, two, three, four, sub-divide that in half and count one & two & three & four &. The
one, two, three and four are when your foot hits the ground, each “&” is when your foot
goes up in the air.

One Eighth Note Two Eighth Notes Four Eighth Notes
      
One Eighth Note Two Eighth Notes Four Eighth Notes
Here is an exercise playing eighth notes. While plucking your 3rd string open tap your
foot and play it in eighth notes. Use alternate plucking while you do this to get speed and
fluidity.
 
1 & 2 & 3 & 4 &
  0 0 0 0 0 0 0 0 
       
1 & 2 & 3 & 4 &
Music Assignment
Now that you are playing eighth notes play them along with the drum
beat used in the “Counting with a Drum Beat” lesson. While the drum
beat is playing, pick eighth notes starting on the low E string and then
down all four strings. Make sure to tap your foot along to get your body
clock into motion. Use alternate plucking.
21

Rests W
The following examples contain your first rests. A rests is a period of silence. Like
whole, half and quarter notes you keep time only there is no sound. See what each
rest looks like below:
whole note half note quarter note eighth note
Whole Rest Half Rest Quarter Rest Eighth Rest
rest rest rest rest
4 Beats 2 Beats 1 Beat 1/2 Beat


   
Count: 1 2 3 4 1 2 3 4 1 2 3 4 1 & 2 & 3 & 4 &
Rhythm – Playing Eighth Notes

When playing eighth notes in a bass line you can create syncopated rhythms. These
rhythms contain notes played on the up beat or “&” count. In example 1 you will play
 
notes on the 1 – 3 – & counts along with the drum backing track.
 
Example 3
    

 
Example 3

0 0 0
 0
 1 & 2 & 3
0 0&
 4 &
 
1 & 2 & 3 & 4 &
 0 40 0 0 0 
In example 2 you will play onExample 4 followed by three up beat notes played on the
 Example
the 1 count
  
 
“&” counts. This creates a very syncopated rhythm.
  0 0 0 0 0 
  1 & 2 & 3 & 4 &
1 & 2 & 3 & 4 &
22

Open String Bass Progression
This rock song contains all open strings. Even though you are not fretting notes you
will still have to use your hand to control the strings and mute all the strings you are not
playing. Make sure to play this along with the backing track. There are a lot of layers in
        
the backing track so keep focused on your part and keep a steady bass pulse.

          
16x 4x 4x 4x 4x
0 0 0 0 0 0 0 0
0 0 0 0
 
0 0 0 0 0 0 0 0
         
         
4x 4x 4x 4x 16x

0 0 0 0 0 0 0 0
0 0 0 0
0 0 0 0 0 0 0 0
Riff Challenge
Here are two fun riffs to challenge your fingers. Pay attention to the fingering on both
hands to make sure you play the notes correctly.
 
  
Example 1
0 0 2 0 3 0 5 3
Finger: 1 1 3 1
Count: 1 & 2 & 3 & 4 &
  
 
  
Example 2
7 5 5 7 5 5
0 7 5 7 5 0 7 5 7 5
0 7 0 7
Finger: 3 1 3 1 3 1 3 1
Count: 1
Finger: & 23 &
1 33 & 41 & 1 & 23 & 13 & 34 &
1
Count: 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
23

Royal Rock
The 4 Chord Song 1 - 5 - 6 – 4 Progression
The 1 - 5 - 6 – 4 progression is today’s most popular chord progression being used in

thousands of songs. I have listed a few examples in various styles and genres but you
can get a more complete list at the lesson support site. I call it the “4 Chord System”
because once you learn this progression you will be able to play hundreds of songs.
C -1 G-5 A-6 F-4
3 3 3 3 0 0 0 0
3 3 3 3 1 1 1 1
Finger: 3 1 1
etc.
Songs Using the 1-5-6-4 Progression

Glycerine - Bush Apologize - One Republic
With or Without You - U2 It’s My Life - Bon Jovi
Man In The Mirror - Micheal Jackson Beast of Burden - Rolling Stones
Hey Soul Sister - Train Don’t Stop Believing - Journey
No Woman No Cry - Bob Marley When I come Around - Green Day
A Day At the Beach

1 - 4 - 5 Progression In G
In this song progression you will apply an eighth note rhythm into the progression. Make
sure to count the timing as you play to help you get the rhythm quickly and effectively.
G-1 C-4 D-5
   
3 3 3 3
 3 3 3 3

3 3
3 3 3

3 3 5 5 5

5 5
Finger: 1 1 3
etc.
24

Intervals – The Half Step
An interval is the distance between two notes. Intervals come in different sizes gauged
by the distance between the notes. If the notes are sounded in a row, it is a melodic
interval. If sounded together, it is a harmonic interval. The smallest interval in music is
the half step. A half step would be the distance of one fret on the bass. If you play any
note and then play the note at the next fret you are playing a half step. A whole step is
made up of two half steps.
Sharps and Flats

A sharp “#” means higher in pitch by a half step or one fret. A flat “b” means lower in pitch
A orA#/Bb
by a half step B Sharps
one fret. C C#/Db
and DflatsD#/Eb E F
are used in music
F#/Gb whenG G#/Ab
creatingAchords and
scales and are also referred to as accidentals.
b = Flat # = Sharp
The Chromatic Scale
All the music we listen to is derived from a group of 12 notes known as the Chromatic
Scale. These 12 notes are all a half step (one fret) apart. There are two natural half
steps in music: B to C, and E to F. There will not be a sharp or a flat between these
notes. Study and memorize the Chromatic Scale below:
Natural Half Steps
A# C# D# F# G#
A Bb B C Db D Eb E F Gb G Ab A
Notice that there is a common flat and sharp note, one note with two different names
such as A#/Bb. This is because if you start with an A note and raised it a half step it would
be called A#. If you start with a B note and lower it a half step it would be called Bb. Same
note, different name. These are called Enharmonic notes.
Music Assignment
Write out the chromatic scale on a piece of paper starting from A and
going back to A. Be sure to put the enharmonic sharps and flats on the
paper. Next if you feel courageous, try writing it backwards from A to A.
The better you have this memorized, the easier you will be able to follow
this book.
25

Notes in the First Position W
It’s important to learn the names of the notes on your bass so you can communicate with
other musicians effectively. The first position is considered the first four frets of the bass.
Starting with the names of the open strings you will use the chromatic scale to learn all
the notes on your bass.
Start with the 4th string open E and go up the chromatic scale from there: F first fret, F#
second fret, G third fret, G# fourth fret. Next, do this same process on the other three
strings. It is important to practice each string without looking and memorize the note
names.
Gb# Ab#
A B
Db# F#
E Gb
Ab# C#b
B D
F# Gb#
Gb A

E F G A B C D E F G A B
0 2 4
0 2 3
0 2 3
0 1 3
Music Assignment
Use the chromatic scale to learn the names all the way up each string.
This will be a great way to better understand your instrument.
26

Root
Root4th
4th Root
Root3rd
3rd Root
Root 2nd
2nd
5ths
5ths are commonly used in bass lines. They are created using the root note and 5th
degree of a major scale. There are five shapes that you will learn starting on the 4th,
3rd and 2nd strings. When playing the root 4th, 3rd and 2nd shapes, you will use your
first and third fingers and the first finger will always be the name or root note. These
1 1 1 1 1 1
are movable shapes and can be played anywhere across the neck.
The3 open
3 4th and 3rd shapes
3 3 are played using your
3 3 first finger and the open string will
give
R R 5 the
5 shape its name.
R RSince
5 5 these are openR position
R5 5 shapes they are not moveable.
A AE E D DA A G GD D
Play the 5ths below:
Open
Open4th
4th Open
Open3rd
3rd Root
Root
Root
4th
4th
4th Root
Root
Root
3rd
3rd
3rd Root
Root
Root 2nd
2nd 2nd
1 1 1 1
1 1 1 1 1 1 1 1 1
3 3 3 3 3 3 3 3 3
R R5 5 R R5 5 R R 5R 5 5 R R 5R 5 5 R R 5R 5 5
E EB B A AE E A A EA E E D D AD A A G G DG D D

7
2 Open
Open
Open
4th
4th
4th Open
Open
Open
3rd
3rd
7 3rd 5
2 0 7 5
0 5
R 5th R 5th R 5th R 5th R 5th
E B A E A E D A G D
1 1 1 1 1 1
Music Assignment
Take the 5th shapes and move them around the neck to different frets.
Make sure that you know the note played with your first finger will be the
root note. Call out the name of each root note as you play these across
R R 5R 5 5 R R 5R 5 5
the neck. E E BE B B A A EA E E
27

Rock Climbing
Applying 5ths
Here is a bass line that will show you how to apply 5ths in a bass line. Notice how they
follow the chord change. Many times the bass line will coordinate with the chord changes
       
in this fashion.
Em G A C
  0 0
2
0
  3 3
5
3
  0 0
2
0   3 3
5
3 
Finger: 1 1 1 3 1 1 1 1 3 1
etc.
Music Assignment
Play the bass line with the backing track to create a full band sound.
Concentrate on where the changes are, this will help you develop a great
ear for music.
The Mission
Single Note Riff
Play the last two notes of each measure quickly to get the proper rhythm.
 
  3 3 3 3
1 3
3 3 3 3 1 2

Finger: 3 1 3 3 1 2

register.
28

How to Read a Scale Diagram W
Scale diagrams are used to visually show you a scale pattern on the neck of a bass. The
four lines that go horizontally from left to right represent each of the four strings. Like
with tablature, the top line is the thinnest (highest pitched) string and the bottom line is
the thickest (lowest pitched) string. The lines running vertically from top to bottom are
the frets. The dots placed directly on a string show you the specific fret to play each note
and the letters inside indicate what note you are playing. The fret markers on the neck
in the diagram indicate where on the neck the scale is located, in this diagram the scale
begins at the 5th fret.
First String Note Names
(thinnest)
C D
G A Fretboard Position
Markers
D E
Frets
A C
Fourth String
(thickest)
Notice how the diagram above is a mirror image of the bass neck. Below see how this
1 = First Finger
scale pattern looks on the bass. In the diagram above the top line is the thinnest string
2 = Second Finger
and the bottom is the thickest string like a tab staff.
3 = Third Finger
4 = Fourth Finger
4 1
3 1
3 1
3 1
7 5
29

Minor Pentatonic Scale
First Position Key of “A”
Scale Professor
Minor pentatonic scales are the most widely used scales in rock and
blues music. This is a five note scale, which means that it repeats after
five notes back to the beginning note (root note) in a circle-type fashion.
The notes of the A minor pentatonic scale are A – C – D – E – G, then
it repeats back to A. Notice that the A notes (or root notes) are in white.
Scales are your alphabet for creating bass lines and melodies. Just
like you learned your alphabet in school and then expanded into
words, sentences and complete stories you will learn scales for bass then expand
to melodies, bass lines and complete songs. Practice this scale with a metronome
using whole, half and quarter notes.
C D
G A
D E
A C

5 7 7 5
5 7 7 5
5 7 7 5
5 8 8 5
Finger: 1 4 1 3 1 3 1 3 D
3 1 3E 1 3 1 4 1
A C
Music Assignment E G
After you can play this scale easily forwards
C andD
backwards, play through
it, mix the notes up and see how the notes fit together perfectly. Think
of this scale as a creative tool not just a group of notes forming a scale.
You can even create your own bass lines within the confines of the scale
notes by mixing the order and listening for interesting combinations.
30
E G
Bass Course Book 1_MASTER FILE_EDITED_1+30+12__14pt text.indd 30

C D 12/30/15 11:22 PM
Minor Pentatonic Single Note Pattern
This doubling pattern comes directly from the first minor pentatonic scale. This is a great
exercise to help develop the coordination of your hands and help you use the scale in a
creative manner.
As you play through the scale the pattern will be to double the 3rd and 2nd strings going
forward and backwards. Be sure to use alternate plucking consistently and build up your
speed gradually. I recommend using a metronome to help gauge your progress.

5 7
5 7 5 7
5 7 5 7
5 8
1 4 1 3 1 3 1 3 1 3 1 3

7 5
7 5 7 5
7 5 7 5
8 5
3 1 3 1 3 1 3 1 3 1 4 1
Music Assignment
Be sure to tap your foot along with the pattern to get your body clock
ticking and really feel the pattern. Start by playing this pattern as quarter
notes giving each note beat. Next, play each note in eighth note timing
playing two notes for each beat.
Practice Tips
• Make sure to review previous lessons. A good idea is to review the past songs
as a warm up before you start your new lesson.
• Use a metronome when practicing. Always start at a slow speed and increase
your tempo once you can play the speed you are at comfortably.
• Record yourself if you have the capacity. When you listen back you will be more
objective to any inconsistencies. Learn to be your own biggest critic.
31

The 4 Chord Song Progression Part 2
1 - 6 - 4 - 5 Progession
G-1 E-6
3 3
 3

3 3 3 0

0 0

0 0 0
Finger: 1
etc.
C-4 D-5
3 3 3 3 5 5 5 5
   
3 3 5 5
1 3
Clockwork
Complete Song Progression
In this lesson you will learn a complete bass song progression in eighth note timing.
Notice how many of the notes come from the minor pentatonic scale you just learned.

Use consistent alternate plucking and build speed gradually.
  5 5 5 5 5 5 5 7 8 8 8 8 8 8 8
7
               
Finger: 1 3 4 3

 5 5 5 5 5 7
5 7
5 5 5 5
5 5 7 7 
               
1 3 1 3 1 1 3
32

Minor Pentatonic Scale
Positions 2 & 3
C key ofD“A” you learned the names of the five

With the first minor pentatonic scale in the
notes that make this scale: A, C, D, E and G G. The A word pentatonic is “penta” meaning
five and “tonic” meaning first note. In this lesson you’ll learn the 2nd and 3rd positions of
this scale. These are the same exact notes D playedE at different places on the neck.
A
When learning scales a great way to memorize themC is to find the finger pattern (the
fingers you use on each string). The finger pattern for the second position scale is
2 – 4, 1 – 4, 1 – 4, 1 – 3 always keep your fingers in a one finger per fret alignment. Play
through this position and get familiar with the pattern. Again, notice that the root notes
are in white.
D E
A C
E G
C D

7 9 9 7
7 10 10 7
7 10 10 7
8 10 10 8
Finger: 2 4 1 4 1 4 1 3 3 1 4 1 4 1 4 2
E G
C D

9 12
The 3rd scale position starts on the 10th 12 the9finger pattern is 1 – 3, 1 – 3, 1 – 3,
fret, and
10 12 12 10G A
1 – 4. The tricky 10
part here
12 is on the 1st string you have to shift down12 10 9th fret to get
to the
the first10
note,
12then stretch your fourth finger to the 12th fret to get E 12note.
D the second 10
Finger: 1 3 1 3 1 3 1 4 4 1 3 1 3 1 3 1
A C
E G
33
C D
G A
E G
C D

7 9 9 7 G A
7 10 10 7
7 10 D 10 7E
8 10 10 8
Finger: 2 4 1 4 1 4 1 3 3 1 4 1 4 1 4 2

9 12 12 9
10 12 12 10
10 12 12 10
10 12 A C 12 10
Finger: 1 3 1 3 1 3 1 4 4 1 3 1 3 1 3 1
E G
Make sure to use alternate plucking
C as you
D build up speed with these scales. Memorize
the patterns so that you could play them easily and effectively. Also try to memorize the
locations of the root notes withinGthe scale
A patterns. In the coming lessons I will show you
patterns that use these scales, so get excited!
Minor Pentatonic Single Note Pattern

Positions 2 & 3 G A
D E
Take the double pattern you learned earlier and apply it to the scales in the previous
A C
lesson. Double the notes on the 2nd and 3rd strings going forward and backwards
through each scale. Play the 2nd scale position below: E G

7 9
7 10 7 10
7 10 7 10
8 10
Finger: 2 4 1 4 1 4 1 4 1 4 1 3

9 7
10 7 10 7
10 7 10 7
10 8
3 1 4 1 4 1 4 1 4 1 4 2
Next apply this pattern to the 3rd scale position, starting on the 10th fret.
34


9 12
10 12 10 12
10 12 10 12
10 12
Finger: 1 3 1 3 1 3 1 3 1 3 1 4

12 9
12 10 12 10
12 10 12 10
12 10
4 1 3 1 3 1 3 1 3 1 3 1
Music Assignment
Once you’re comfortable with this pattern, practice along with a
metronome to gauge your progress. Start at a slow tempo and increase
the tempo each time you practice. Keep clean technique, plucking
each note clear and distinct, while alternating consistently. To make this
pattern more challenging pluck each note twice as you play through the
pattern sequence.
Ode to Joy
Here is another song progressions where you must support the melody with a solid bass
line. Be sure to practice this with the backing track that includes the melody.
5 5
3 3 3 3 3 3
Finger: 1 3
5
3 3 3 3 3 3 3
1 3 1
5 5 5 5 5 5 5
3 3 3 3 3 3 5 5
3 1 3 1 3 1 3 3
5
3 3 3 3 3 3 3 3
1 3 1
35

Blues Riff Rhythm
The following is a single note blues riff rhythm. There are many times in music where a
rhythm for a song will be constructed using single notes played with the bass and the
guitar together. This is a common rhythm so it should sound familiar. Be sure to play this

over the guitar and drum backing track.
E
  0034
2242
0034
2242
0034
2242
0034
2242
Finger: 2 3 1 1 3 1 etc.
A E

2 2 4 2 2 2 4 2
0 0 3 4 0 0 3 4 2 2 4 2 2 2 4 2
0 0 3 4 0 0 3 4

B A E
 2 2 2 2 2 2 2 2 0 0 3 4
2 2 4 2
0 0 3 4
2 2 4 2
0 0 3 4
2 2 4 2 
Music Assignment
This rhythm can be played with the shuffle feel that you learned in the
Blues Progression lesson. Below are the first few measures with the
shuffle feel rhythm to get you started:

E
 2 2 4 2 2 2 4 2 2 2 4 2
              
0 0 3 4 0 0 3 4 0 0 3 4
36

Blue Velvet
1 - 6 - 3 - 5 Progresion
The rhythm pattern for this song is: 2 quarter notes followed by 4 eighth notes. Play
this plucking pattern once for each chord. Keep your hand, arm and shoulder loose
and relaxed at all times. Never tense or tighten up your arms. Once you can play this
progression use the backing track and play along with the guitar and drums.
C -1 A -6
3 3 3 3 3 3 0 0 0 0 0 0
Finger: 3
etc.
E -3 G -5
0 0 0 0 0 0 3 3 3 3 3 3
3
Triplets
Eighth and sixteenth notes subdivide a beat in half and quarters. These are even number
breakdowns of 2 and 4. Triplets subdivide a beat into threes. For every one beat, you’re
going to play three notes. Count triplets like this:
1 – trip – let, 2 – trip – let, 3 – trip – let, 4 – trip – let
3 3 3 3
           
1 trip - let 2 trip - let 3 trip - let 4 trip - let
Next play the open 4th E string in triplets following the tablature and feel the triplet timing:
37

 
  0 0 0 0 0 0 0 0 0 0 0 0

3 3 3 3
           
Count: 1 trip - let 2 trip - let 3 trip - let 4 trip - let
Triplet Pattern
Here is a triplet pattern applied to the first three minor pentatonic scales. This pattern
goes up three notes from each degree of the scale. Below I’ve outlined the first two
strings so you can get familiar with the pattern:

5 5 7
5 5 7 5 7 7
5 8 8
3 3
3 3
           
Count: 1 trip - let 2 trip - let 3 trip - let 4 trip - let
Now play the triplet lead pattern with the first three minor pentatonic scales:
1st Position

5 5 7
5 5 7 5 7 7
5 5 7 5 7 7
5 8 8
3 3
3 3
3 3
Finger: 1 4 1 4 1 3 1 3 1 3 1 3 1 3 1 3 1 3

7 5 5
7 7 5 7 5 5
7 7 5 7 5 5
8 8 5
3 3 3 3
3 3
3 1 3 1 3 1 3 1 3 1 3 1 3 1 4 1 4 1
38

2nd Position

7 7 9
7 7 10 7 10 10
7 7 10 7 10 10
8 10 10
3 3
3 3
3 3
Finger: 2 4 1 4 1 4 1 4 1 4 1 4 1 4 1 4 1 3

9 7 7
10 10 7 10 7 7
10 10 7 10 7 7
10 10 8
3 3 3 3
3 3
3 1 4 1 4 1 4 1 4 1 4 1 4 1 4 1 4 2
3rd Position

9 9 12
10 10 12 10 12 12
10 10 12 10 12 12
10 12 12
3 3
3 3
3 3
Finger: 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 4 1 4

12 9 9
12 12 10 12 10 10
12 12 10 12 10 10
12 12 10
3 3 3 3
3 3
4 1 4 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1
Music Assignment
Vary this pattern and play each note of this triplet pattern two times.
Then transpose this pattern forwards and backwards with all three scale
positions.

5 5 5 5 7 7
5 5 5 5 7 7 5 5 7 7 7 7
5 5 5 5 7 7 5 5 7 7 7 7
5 5 8 8 8 8

7 7 5 5 5 5 39
7 7 7 7 5 5 7 7 5 5 5 5
7 7 7 7 5 5 7 7 5 5 5 5
8 8 8 8 5 5
Staccato
Staccato by definition means short and detached. A note separated by silence. To attain
this you must use both hands to mute the sound. With your fretting hand you simply lift
the pressure off a note and with your plucking hand use the side of your hand to touch
the strings as they come off the bridge. Notes that are to be played with staccato will
have a dot placed over the note. Play the following notes using the staccato technique.
 
  5 5 5 5 5 5 5 5 
       
Finger: 1 1 1 1 1 1 1 1
Staccato Groove
Below is a staccato groove bass progression. Make sure to use the mute technique and
 
also lift the pressure off each note to get the staccato sound.
   
  5 5 5 5 5 5 5 5
   3 3 3 3 3 3 3 3
        etc.
Finger: 3 3 3 3 3 3 3 3 1 1 1 1 1 1 1 1
5    

3 3
3 3
3 3
3 3
5 5
5 5
1 3 5
1 1 1 1 1 1 1 1 3 3 3 3 3 1 1 3

register.
40

Street of Dreams
2 -4 -1 - 5 Progression
E -2 G -4
0 0 0 0 0 3 3 3 3 3
Finger: 1
etc.
D -1 A -5
5 5 5 5 5
5 5 5 5 5
3 3
The Major Scale

Key of “G”
Scale Professor
The major scale is the mother of all music. All scales and chords are
created by altering this scale and isolating certain notes within them. The
first note of the scale is the name of the key or root note. This is a G major
scale starting with a G note on the 4th string 3rd fret. Pay close attention
to the fingering and keep your fingers lined up, one finger per fret.
E F G 1 3 4
B C D 1 2 4
G A 2 4

G A B C D E F# G G F# E D C B A G
2 4 5 5 4 2
2 3 5 5 3 2
3 5 5 3
               
Finger: 2 4 1 2 4 1 3 4 4 3 1 4 2 1 4 2
41

Major Triads
A triad is the three notes that make a chord. Many bass lines are written using triad
patterns. In this lesson you will learn a common major triad pattern. These are movable
triad patterns and by just playing the same pattern at other frets you will change keys.
Often when playing with a guitar or keyboard player you can follow the chords they play
with the triad of the same key. This is a great way to begin creating bass lines.
G Major G Major
C Major C Major
G Minor G Minor
C Minor
1 1 1 1
2 2 2 12 1 1
4 4 4 4 4 4 34 34 3 3 3 3
4 4 4
G C

5
5 2 5 5 2
2 5 5 2 3 3
3 3
Finger: 2 1 4 4 4 1 2 2 1 4 4 4 1 2
Music Assignment
Gm Cm

Take the
5
triad shapes from this lesson and 5move5 them5
around the neck.
You
5 need to 5 become familiar playing
3 6 these anywhere 6on the 3 neck.
3 6 Remember that the 3 note is the name of the triad.
6 first
Finger: 1 4 3 3 3 4 1 1 4 3 3 3 4 1
Dotted Quarter Notes

The dot after a note increases the duration of the note by half of its original value. A
dotted quarter note would receive 1 ½ beats or counts.
 =
  =
Dotted Dotted Dotted Dotted
1 1/2 Beats

Quarter Note Half Note
5 = 5 + 5 5 5 +
5 =
5 5 + 5 5 5 + 5
5  
42

Cherry Sky
Major Triad Progression
Let’s put the major triads into a progression and form a bass line. The following is a four
chord progression formed with the chords G, C, A and D. You will play major triads for
these four chords within this bass line.
 
First Groove
G C
 3
5
5 2 5 5 2
2 5 5 2 3 3
3
Finger: 2 1 4 4 4 1 2 2 1 4 4 4 1 2

A D
 
7
7 4 7 7 4
4 7 7 4 5 5
5 5
2 1 4 4 4 1 2 2 1 4 4 4 1 2
   
Second Groove
G C
  3  3 
5
2
 5
5
5 2 
2 5 5 2
Finger: 2 1 4 4 4 1 2 1 4 4 4 1
   
Count: 1 & 2 & 3 & 4 & etc.
A D
 5   5 
7
4
 7
7
7 4 
4 7 7 4
2 1 4 4 4 1 2 1 4 4 4 1
43

Minor Triads
A minor triad is similar to the major triads you learned only they contain the three notes
that form a minor chord. These patterns are also movable and can be played in other
keys by moving them to different frets across the neck. Get familiar with these minor
triads.
or G Major
C Major C Major
G Minor G Minor
C Minor C Minor
1 1 1
G C

2 2 12 1 1 1
5
5 2 5 5 2
4 4 4 4 2 5 34 345 2 3 3 33 3 3 3 3
3 3
Finger: 2 1 44 4 4 1 42 4 2 1 4 4 4 1 2
Gm Cm

5
5 5 5
5 5 3 6 6 3
3 6 6 3
Finger: 1 4 3 3 3 4 1 1 4 3 3 3 4 1
Music Assignment
Take the triad shapes from this lesson and move them around the
neck. You need to become familiar playing them anywhere on the neck.
Remember that the first note is the name of the triad key.
44

Unbreakable
Minor Triad Progression
Let’s put the minor triads into a progression and form a bass line. You will use the same
four chord progression from the major triads formed with the G, C, A and D chords. You
will play minor triads for these four chords within this bass line. Make sure to play this
over the band backing track.
 
First Groove
Gm Cm
 3
5
5 5 5
5 5 3 6 6 3
6 6 3
Finger: 1 4 3 3 3 4 1 1 4 3 3 3 4 1

Am Dm
 
7
7 7 7
7 7 5 8 8 5
5 8 8 5
1 4 3 3 3 4 1 1 4 3 3 3 4 1

Second Groove

Gm Cm
  3
5

5 5 5

5 5 3 6 6
6 6
Finger: 1 4 3 3 3 4 1 4 3 3 3 4
 
Am Dm
 5 
7

7 7 7

7 7 5 8 8
8 8
1 4 3 3 3 4 1 4 3 3 3 4
45

Major & Minor Triads
A Spell on Me
Many times you will combine both major and minor triads to form a bass line. The
following is a great example of this in a two part song progression. This first section
is a verse and the second section is the chorus. Make sure to play this along with the
backing track after you can play it up to speed.
 EMajor
Part 1
E Major G# minor
   7
6 9 6 9 G# minor
 7
7 6 6
4 7 4 7
6 9 6 9
Finger: 2 1 4
72 1 4
63 63
41 74 41 74
C#2minor 1
Finger: 4 2 1 4 B 1Major 4 3 1 4 3



C# minor 6 6 B Major

4 7 4 7 6 9 6 9
7 7
41 74
6
3
41 74
6
3 72
61 94
72
61 94 
1A Major4 3 B1 Major 4 3 2E Major1 4 2 1 4
3x

Part 2

A Major B Major E Major6 9 6 9
3x


4 7 6 9 7 7
5 7
Finger: 5
2
41 74
72
61 94 72
6
1
9
4
72
6
1
9
4 
A Major B Major


Finger: 2 1 4 2 1 4 2 1 4 2 1 4

A Major B Major

4 7 6 9
5 7
52
41 74
72
61 94 
2 1 4 2 1 4
46

Octaves
Octaves are a common intervallic technique used in all genres of music. Octaves are
formed by taking a root note and finding the same root note 8 scale degrees higher
creating a higher pitched root note. There are a few shapes that are most characteristic
that I am going to show you. These shapes incorporate a string skip where you have to
play a note two strings away. Many players use octaves in bass lines as a technique.
Play through the following octave shapes and move them around the neck to different
frets.
3 3 3
G
3 G
3 G
3 2 2 2
1 1 1
G
1 G
1 G
1
Example 1 - G Example 2 - C Example 3 - E

5
5 2
3
3 0
Finger: 1 3 1 3 1
Music Assignment
Start at the 2nd fret and move these patterns one fret at a time all the
way up and down the neck. It’s important to be comfortable playing these
octaves anywhere on the neck so you can use them to play songs.

4 5 6 7 8 9 10
2 3 4 5 6 7 8
Finger: 1 3 1 3 1 3 1 3 1 3 1 3 1 3
47

Octave Rock Progression
The tablature notes are spaced to help you with the timing. Pay close attention to the
plucking, the pattern repeats but is not consistent alternate plucking.
 
 0 0 0
2
0 0 0 0
2
0 0 0 0
2
0 0 0 0
2
0 0

                
Finger: 2 2 2 2
The Chase
Applying Octaves
Here is an example of how you can use octaves to create a bass line. The chord changes
here are G – F – Bb – C. For this song the octave shapes will be played with the first and
fourth fingers, this is a common fingering variation. Make sure to use alternate plucking
consistently throughout this bass line.
G F

 
G F
 
5 5 5 5 5 5 5 5 3 3 3 3 3 3 3 3
3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3
   
Finger: 3
1 4 3
1 4 3
1 4 3
1 4 etc. 3 3 3 3 1 1 1 1 1 1 1 1
3  3  3  3 
Finger: 1 4 1 4 1 4 1 4 etc.
Bb C

Bb 3 3 3 3 C5 5 5 5 5 5 5 5

1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 3 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5
1 1 1 1 1 1 1 1 3 3 3 3 3 3 3 3
48

A C
A C
E G
Minor Pentatonic Scale W
C D
Positions 4 & 5 G A D E
A C
Up to now you’ve learned three minor pentatonic scale patterns in the key of “A.” Now
E starts on the
it’s time to learn the last two. The 4th scale position G 12th fret with your first
finger. Play through this scale position below:
C D
G A
D E
A C
E E G G
C D

12 14 14 12 G A
12 14 14 12
12 15 E
D 15 12
12 15 15 12
Finger: 1 4 1 4 1 3 1 3 3 1 3 1 4 1 4 1
The 5th scale position starts on the 3rd fret with your second finger. This pattern is pretty

easy to memorize, play through the this scale below:
2 5 5 2
2 5 5 2
3 5 5 3
3 5 A C 5 3

Finger: 2 4 2 4 1 4 1 4 4 1 4 1 4 2 4 2
E 12 14 12 G 14 14 12
14 12
12 15 15 12
12 15 C D 15 12
Finger: 1 4 1 4 1 3 1 3 3 1 3 1 4 1 4 1
G A

2 5 5 2
2 5 5 2
3 5 5 3
3 5 5 3
Finger: 2 4 2 4 1 4 1 4 4 1 4 1 4 2 4 2
Make sure to use alternate plucking when playing these scales and memorize the finger
G of “A.”AAll of
patterns. Now you have all five minor pentatonic scale patterns in the key
these patterns have the same notes, A – C – D – E and G played at different
D spots across
E
the neck. Once you have these five patterns memorized you’ll be able to change keys by
just moving these scale patterns up or down the neck. A C
E 49
G

Minor Pentatonic Triplet Pattern
Positions 4 & 5
Below is the triplet pattern transposed to the 4th and 5th position minor pentatonic scale.
Pay attention to your hand position and keep the bass neck up at a 30 degree angle.
4th Position

12 12 14
12 12 14 12 14 14
12 12 15 12 15 15
12 15 15
3 3
3 3
3 3
Finger: 1 4 1 4 1 4 1 4 1 4 1 3 1 3 1 3 1 3

14 12 12
14 14 12 14 12 12
15 15 12 15 12 12
15 15 12
3 3 3 3
3 3
3 1 3 1 3 1 3 1 4 1 4 1 4 1 4 1 4 1
5th Position

2 2 5
2 2 5 2 5 5
3 3 5 3 5 5
3 5 5
3 3
3 3
3 3
Finger: 2 4 2 4 2 4 2 4 1 4 1 4 1 4 1 4 1 4

5 2 2
5 5 2 5 2 2
5 5 3 5 3 3
5 5 3
3 3 3 3
3 3
4 1 4 1 4 1 4 1 4 1 4 2 4 2 4 2 4 2
Music Assignment
Scales are meant to be used to create bass lines and melodies. After
you play the scales forward and backward, try to mix the notes up and
create your own patterns. This is how you begin creating your own style.
50

Black Pearl
Minor 6 - 2 - 5 - 3 Progression
This is a minor progression because it starts with the relative minor key note, which is A
in the key of C. You will learn more about relative minor theory as you progress through
the course.
A -6 D -2
7
5
   
7 8 8 5
5 8 8 5
Count: 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &

Finger: 1 4 3 4 1 1 4 3 4 1
G -5 E -3
5
   
5 5 7 7 5 7
3 3 0 0
Count: 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &

Finger: 1 3 4 3 1 3 3 1 3
Finger Flexing #2
Here is another exercise that will help develop the coordination of both hands. In this
exercise, there’s a wide stretch to help open up your hand’s reach to play harder
passages.
The fret pattern that you are going to use is 1 – 4 – 3 – 4, using alternate plucking. Use the
same finger as fret when you play this exercise and line your fingers up in a one finger per
fret manner.
Hold your first finger down on each string, this will help to open up your hand and
develop a reach while building coordination of both hands. Repeat each measure
       
four times and use alternate plucking. Do the same pattern on all four strings.
       
4x 4x 4x 4x

1 4 3 4
1 4 3 4
1 4 3 4
1 4 3 4

Finger: 1 4 3 4
etc.
51

Build up speed gradually. This is a great time to use a metronome to help you gauge your
progress. Increase the speed a notch every day to effectively improve your skill.
Music Assignment
Once you feel comfortable playing this pattern across all four strings, do
the same pattern doubling each note. The pattern would look like this:
   
   
4x 4x

1 1 4 4 3 3 4 4
1 1 4 4 3 3 4 4
        etc.
Finger: 1 1 4 4 3 3 4 4
   
1 1 4 4 3 3 4 4   
4x 4x
 1 1 4 4 3 3 4 4
Epic Sun
1 - 5 - 6 - 4 Key of “G”
Here is another variation of the 1 – 5 – 6 – 4 progrerssion in the key of G. Make sure to
pay close attention to the rhythm pattern and count along as you play the rhythm.
G -1 D -5
4 7
   
2 5 5 5 5 5 5
3 3 3 3 3
Count: 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &

Finger: 2 1 4 2 2 1 4 2
E -6 C -4
2
3 3 3 3 2 2 0 0
0 0 0
 
0 0 0
Count: 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &

Finger: 1 2 1
52

Using a Pick
Although using your fingers to pick the strings is the recommended technique there
are times you may want to use a pick to get a different sound. You should hold the pick
between your index finger and thumb with the point of the pick facing toward the strings.
Center the pick on the Bring your thumb down Leave your hand open
index finger of your right on top of the pick. Pinch and your other fingers
hand. yo u r th u m b a n d fin g e r relaxed (don’t make a
to g e th e r a n d le a ve fist). Your thumb and
ju st th e tip o f th e p ick finger should be placed
sh o win g . in the center of the pick,
grasping it firmly to give
you good control.
Palm Muting
You learned how to use the mute technique to stop the sound completely. Another
common way this technique is played is to lightly touch your picking hand against the
strings just as they come off the bridge. Make sure not to go too far from the bridge
because this will deaden the note completely. Make the notes come out slightly
deadened but so you can still hear the pitch of each note. This is used in many genres of
music and often in heavy rock music. Play the open 4th string on the next page using a
pick to get familiar with this muting technique. Notice the “p.m.” followed by a dotted line
that indicates palm muting on the staff.
53


 
 
P.M.
 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
    etc.
Rockit Center
Applying the Mute Technique
Here is a simple bass line to apply the muting technique. All the notes are on the E and
A strings so you can keep a consistent mute on those strings for the entire progression.
Use the band backing track to get the full band sensation.

P.M.
  0 0 0 0 0 0 0 0
1 1 1 1 1 1 1 1

Finger: 1 1 1 1 1 1 1 1

P.M.
 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Music Assignment
Apply the muting technique used in this lesson to some of the bass lines
you have learned earlier in the book. Adding the mute technique will give
each progression a new dynamic sound.
54

Basic Slap & Pop Technique
Slap and pop is a popular bass plucking technique used in many genres of music. For
the slap, make sure to use the side of your thumb slapping the bass string to sound a
note. It is a very quick movement and the thumb should not stay on the string. The higher
notes are snapped or popped to sound the note. Place your middle finger of the plucking
hand under the string and snap it up to generate the sound. Both the slap and pop are
very percussive techniques and should be hit and snapped quick and hard.
Slap
Let’s start with the slap technique,
with the side of your thumb slap your
thumb against the 4th string right
after the end of the neck as shown in the
diagram. Make sure to bounce your
thumb off the string right after it hits to
allow the note to ring. Play a series of slaps
on the 4th string to get familiar with the
technique.
 0
S
0
S
0
S
0
S
0
S
0
S
0
S
0
S
Pop
Now let’s go through the pop technique.
On your plucking hand, bend your index
finger in a hook shape and place it under
the 1st string. Pull your hand up keeping
it in a locked position. Play a series of
pops on the 1st string to get familiar with
this technique.

0 0 0 0 0 0 0 0
P P P P P P P P
55

Slap & Pop Exercise
In this example you will slap the open E string and pop the open G string. Once you have
the bass line so you can play it smoothly play it along with the backing track.
 
  
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
Count: 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &

S P S P S P S P S P S P S P S P
Applying the Slap & Pop Technique

Now let’s apply the slap & pop technique into a song. Below is a simple song that will
incorporate three octave shapes. Play each separately first then put them together with
the backing track. This song is played with a swing or shuffle feel so pay close attention
to the backing track for the rhythms timing.
 
Example 1
  
2 5 7 2 5 7
0 3 5 0 3 5
S P S P S P S P S P S P
Finger: 1 1 4 1 4 1 1 4 1 4
 
Example 2
  
2 5 7 2 5 7
0 3 5 0 3 5
S P S P S P S P S P S P
Finger: 1 1 4 1 4 1 1 4 1 4
56

Warm Up Exercises
In this lesson you will learn a warm up routine, great to use when you first start your playing
session. A good warm up routine is essential to becoming a good bass player. Once you
learn each pattern, continue to play them all the way up the neck using alternate plucking.
Example 1

1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
Finger: 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

5 4 3 2
5 4 3 2
5 4 3 2
5 4 3 2
4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1

3 4 5 6
3 4 5 6
3 4 5 6
3 4 5 6
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
Example 2

1 2 3 2
1 2 3 2
1 2 3 2
1 2 3 2
Finger: 1 2 1 2 1 2 1 2 3 2 3 2 3 2 3 2

3 4 5 4
3 4 5 4
3 4 5 4
3 4 5 4
3 4 3 4 3 4 3 4 2 1 2 1 2 1 2 1

5 6 7 6
5 6 7 6
5 6 7 6
5 6 7 6
2 3 2 3 2 3 2 3 4 3 4 3 4 3 4 3
57

Heavy Bass Progression
This is a simple but effective bass line. The timing is eighth notes until the last two
notes which are quarter notes. The last two notes are a half step apart and create a
dark sound. This is common in heavy rock or metal music. Make sure to use alternate
 
plucking and play along with the backing track to create a full band sound.
  0 0 0 0 3 3 3 5 5 5 5 5 6 5

Finger: 1 1 1 3 3 3 3 3 4 3
Single Note Riff Rhythm

This is a 12 bar blues rhythm with a rock feel. I have placed the chord changes above
the staff to help you follow the progression. The guitar follows the same pattern with the
bass in unison creating a full driving sound.

A
  5 5
7 7 5 5
7 7
5 5
7 7 5 5
7 7
Finger: 1 1 3 3 1 1 3 3 etc.

7 7 5 5 7 7 5 5
7 7 7 7
5 5 5 5

7 7 5 5 7 7 5 5
7 7 7 7
5 5 5 5
58 A

7 7 5 5 7 7 5 5
7 7 7 7
5 5
5 5 12/30/15 11:23 PM

7 7 5 5 7 7 5 5
7 7 7 7
5 5 5 5

7 7 5 5 7 7 5 5
7 7 7 7
5 5 5 5

9 9 7 7 9 9 7 7
9 9 9 9
7 7 7 7

A
 5 5
7 7 5 5
7 7
5 5
7 7 5 5
7 7 

register.
59

Word Search
Go to RockHouseSchool.com to get the solution to this word search.
T M E U Y J R D L S C L M V H M P U N D R I H T S
O L A D A W G A Z G F J O X G N J O X G Y F C Q Z
T X O J I T C E D Y F Y D K L P I I T E N O F L A
I N C U O D R H Q J Z R F I N S B B M O B B D F R
U W T R L R G E J S C I J F S A I J I L A M Z K N
P P A W M C P N V A K D B E I X K B E D S M A M X
K A V I Y V N I A Q P O R X H R C B D N S L R R G
M C E E V T S H S J A G H A R S O S N B J N T O K
B S T C S S K C N D O F O J Y I R X I G V H Q G N
L O Y I P R D A K R F L Z Z W J B L C I W S I W X
N W D O Q P N M P I C E P G H W U R E X J T S I N
J I Y Q H X J J F P S C L O C A C J I F B Z E R H
W Q T J D M N T O L J S T A P T A J X D B W U U G
Q S Q T D F H I G D E T E Y C J B E M H G V L N U
P M A H L X Y U E L R G H T W S G R P Q L E B A D
K F P Z J W B J A V V L T R I P L E T Y B L Y X A
F C H M H U N X V Y A Y K C D G U I Q K U L E E N
J F C Y R D Y H T O O R K O U H Q A Y O D E B T G
X M Q I A W O B H J D H B M U T E B L K W K E C D
O V V I H R G U Y A L V M X R U Q I W X N J B T U
H I R A C L V A W Y B A C B P D S H U F Z H V J D
O T E Z J S D C E V O Z P A A P S Y M D X Z M E D
W U T Z R K B U E I E G U T M L W Q L S H E M X H
V X S P W E C G S M I N O R A G A D K N P Q F J M
V P S G N O Z M A V B Q R P W B K B Q L N C T N F
Search Words:
• BASS • NOTE • THIRD
• BLUES • OCTAVE • TRIAD
• BRIDGE • POP • TRIPLET
• FIFTH • PROGRESSION
• MACHINE HEAD • RIFF
• MAJOR • ROCK
• MINOR • SCALE
• MUTE • SLAP
60

Musical Words
Action – Height of the strings from the fret board to the string itself.
Beat – The regular pulse of music which may be dictated by a metronome, or by the accents in music.
Bridge – The bridge is located on the body of the bass and transfers sound from the strings to the body
of the bass. This is held in place by screws or string tension.
Body – The main section of the instrument where the bridge and tailpiece are located.
Fretboard or Fingerboard – The area on top of the neck that you press the string upon to create a
note or frequency.
Flat – An accidental symbol placed to the left of a note, indicating that its pitch should be lowered by a
half step.
Fret – The metal bars along your fretboard that separate the notes on the neck.
Headstock – Top of the instrument where the tuners or machine heads are located.
Interval – The distance between two pitches.
Machine Head – A device to control the tension of the strings. With a slight turn of the machine head,
the player can tighten or loosen the tension to raise or lower the pitch of the string until it is in tune.
Measure – A musical term signifying the smallest division of a song, containing a fixed number of beats,
marked off by vertical lines on the staff. The distance between two bar lines on a staff.
Melody – A succession of single tones containing rhythm and pitches arranged as a musical shape.
Neck – The middle of the bass where the strings are stretched over the fretboard.
Nut – Piece of plastic or bone between the headstock and fretboard. Guides the strings from the
fretboard to the tuners on the headstock.
Pickguard – Piece of material placed on the body of the bass to protect it from pick scratches.
Pickup – Device that takes the string vibration that you create and transform it into an electronic signal.
This signal it then used in amplifiers to boost the sound.
Pop – A plucking technique where you put a finger under the string and pull or snap upward to sound
the note. Usually played with the index or middle fingers on the higher strings.
Saddles – Piece on the bridge that holds the string in place.
Scale – A series of notes in ascending or descending order that presents the pitches of a key or mode,
beginning and ending on the tonic of that key or mode.
Sharp – An accidental symbol placed to the left of a note, indicating that its pitch should be raised by
a half step.
61

Slap – The technique in which the string is being struck with the side of the thumb to sound a note. Very
much like hammers on a piano strike the strings.
Tempo – The speed of the rhythm of a composition. Tempo is measured according to beats per minute.
Timing – The beat of musical rhythm. The controlled movement of music in time.
Triplet – Three notes of equal length that are to be performed in the duration of two notes of equal
length.
Truss Rod – A long rod inside your bass neck used for stabilizing a wooden neck to its proper angle.
Crossword Puzzle
Go to RockHouseSchool.com to get the solution to this crossword puzzle.
Across Down
2. Lowers a notes pitch one half step 1. Short and detached
4. Raises a notes pitch one half step 3. Three notes played in one beats time
5. Eight scale degrees above the root 6. Type of note receiving 1 beat
7. Sounding a note by striking it with the side of 7. A group of notes that are in the same key
your thumb 8. A symbol that tells you there will be a period
9. A device that clicks at an adjustable rate to of silence
help with timing
10. The 12 notes that make up all music
11. Type of note receiving 4 beats
62

Changing a String
Old bass strings may break or lose their tone and become harder to keep in tune. You
might feel comfortable at first having a teacher or someone at a music store change
your strings for you, but eventually you will need to know how to do it yourself. Changing
the strings on a bass is not as difficult as it may seem and the best way to learn how to
do this is by practicing. Bass strings are fairly expensive so it’s important to get it right
the first time you try to restring your bass. How often you change your strings depends
entirely on how much you play your bass, but if the same strings have been on it for
months, it’s probably time for a new set.
Before removing the old strings from the bass, examine the way it is attached to and try
to duplicate that with the new string. On some electric basses, the string may need to be
threaded through a hole in the back of the body.
Follow the series of photos below for a basic description of how to change a string.
Before trying it yourself, read through the quick tips for beginners on the following page.
Loosen the string. Remove the old string from the post.
Pull the string through the bridge and Remove the new string from the packaging
discard it. and uncoil it.
63

Thread the end of the new string through Cut the excess length from the string.
the bridge.
Hold the string in place just after the nut with Carefully tighten the string and tune it to the
your finger and tighten up the slack in the proper pitch.
string with the machine head.
You can cut the old string off the bass but you may want to unwind it instead and save
it as a spare in case you break a string later. Check to make sure you have the correct
string in your hand before putting it on the bass. The strings may be color coded at the
end to help you identify them.
Thread the new string through the bridge and cut the end of the string approximately
three inches past the tuner you are anchoring the string to. Insert the cut end into the top
of the machine head and bend the string around it. Be sure to wind the string around the
tuning post in the proper direction (see photos). The string should wind around the post
underneath itself to form a neat coil. Once the extra slack is taken up and the string is
taught, tune it very gradually to pitch, being careful not to over tighten and accidentally
break the new string. Check the ends of the string to make sure it is sitting correctly
on the proper bridge saddle and space on the nut. New strings will go out of tune very
quickly until they are broken in. You can gently massage the new string with your thumbs
and fingers once it’s on the bass, slightly stretching the string out and helping to break it
in. Then retune the string and repeat this process a few times for each string.
64

Bass Triads
A Major
A

4th fr. 1 7
4 7 7 4
2 5 5
2 1 4 4 4 1 2
4 4
A Major

14
11 14 14 11
11th fr. 1 12 12
2 2 1 4 4 4 1 2
4 4
A Minor
Am

5th fr. 1
7
7 7
5 8 8 5
3 3 1 4 3 3 3 4 1
4
A Minor
Am

14
14 14
12th fr. 1 12 15 15 12
1 4 3 3 3 4 1
3 3
4
65

B Major
B

6th fr. 1 9
8 9 9 8
2 7 7
2 1 4 4 4 1 2
4 4
B Major

1 4
1 4 4 1
2 2 2
2 1 4 4 4 1 2
4 4
B Minor
Bm

7th fr. 1
9
9 9
3 3 7 10 10 7
1 4 3 3 3 4 1
4
B Minor
Bm

1 4
4 4
2 5 5 2
3 3 1 4 3 3 3 4 1
4
66

C Major
C

7th fr. 1 10
7 10 10 7
2 8 8
2 1 4 4 4 1 2
4 4
C Major

5
1
2 5 5 2
3 3
2
2 1 4 4 4 1 2
4 4
C Minor
Cm

8th fr. 1
10
10 10
3 3 8 11 11 8
1 4 3 3 3 4 1
4
C Minor
Cm

5
5 5
1 3 6 6 3
1 4 3 3 3 4 1
3 3
4
67

D Major
D

9 fr. 1 12
9 12 12 9
2 10 10
2 1 4 4 4 1 2
4 4
D Major
D

7
4th fr. 1 4 7 6 4
5 5
2
2 1 4 4 4 1 2
4 4
D Minor
Dm

12th fr. 1
12
12 12
10 13 13 10
3 3 1 4 3 3 3 4 1
4
D Minor
Dm

7
7 7
5th fr. 1 5 8 8 5
1 4 3 3 3 4 1
3 3
4
68

E Major
E

11th fr. 1 14
11 14 14 11
2 12 12
2 1 4 4 4 1 2
4 4
E Major
E

9
6th fr. 1 6 9 9 6
7 7
2
2 1 4 4 4 1 2
4 4
E Minor
Em

12th fr. 1
14
14 14
12 15 15 12
3 3 1 4 3 3 3 4 1
4
E Minor
Em

9
9 9
7th fr. 1 7 10 10 7
1 4 3 3 3 4 1
3 3
4
69

F Major
F

12th fr. 1 15
12 15 15 12
2 13 13
2 1 4 4 4 1 2
4 4
F Major
F

10
7th fr. 1 7 10 10 7
8 8
2
2 1 4 4 4 1 2
4 4
F Minor
Fm

1
3
3 3
3 3 1 4 4 1
1 4 3 3 3 4 1
4
F Minor
Fm

10
10 10
8th fr. 1 8 11 11 8
1 4 3 3 3 4 1
3 3
4
70

G Major
G

5
2 5 5 2
1 3 3
2 1 4 4 4 1 2
2
4 4
G Major
G

12
9th fr. 11 12 12 11
1 10 10
2 2 1 4 4 4 1 2
4 4
G Minor
Gm

5
5 5
1 3 6 6 3
1 4 3 3 3 4 1
3 3
4
G Minor
Gm

12
12 12
10th fr. 1 10 13 13 10
1 4 3 3 3 4 1
3 3
4
71

Table of Contents
My Mojo Is Back................................................. 73 Mean Street................................................. 110
The Shuffle Feel................................................. 73 Big Bottom................................................... 111
Minor Pentatonic Scales Key of “E”.................... 74 Vibrato......................................................... 112
Remember the Day............................................ 80 Hammer Ons and Pedal Tones................... 113
Hammer Ons...................................................... 80 The Mexican Snake Song........................... 113
Pull Offs.............................................................. 82 Riff Oriented Bass Lines.............................. 114
Hammer Ons in a Bass Line.............................. 83 Playing with the Guitar................................ 115
Pull Offs in a Bass Line...................................... 83 Syncopated Sixteenths................................ 115
Minor Blues Progression.................................... 84 Dotted Notes............................................... 116
Turnaround......................................................... 84 The ii-V-I Progression.................................. 117
Root Notes......................................................... 85 Combining Major and Minor Triads............. 117
House of the Rising Sun..................................... 86 Natural Minor Scales................................... 118
The Major Scale Formula................................... 87 Natural Minor Triplet Pattern....................... 119
Major Scale One Octave Patterns...................... 88 Combing Triads with Scales........................ 120
Major Scale Four String Patterns....................... 90 Natural Harmonics....................................... 121
Walking Bass Lines............................................ 92 Blues Town.................................................. 122
Ramone.............................................................. 93 Complete Bass Progression........................ 123
Voodoo Girl......................................................... 93 First & Second Endings............................... 123
Exercise Routine................................................ 94 G Blues Scales............................................ 124
Following the Root Notes................................... 95 G Blues Scale Groove................................. 126
Yeah Mon........................................................... 96 G Minor Hammer On Groove...................... 126
Notes in the 5th Position.................................... 96 5 String Pentatonic Minor Scales
Find Any Note on the Bass................................. 97 Key of “A”.................................................... 127
Slap & Pop Groove ............................................ 98 Riding Low................................................... 128
Legato................................................................ 98 Dyno-mite.................................................... 128
Hammer Pull Off Single Note Pattern................. 99 Stormy Tuesday.......................................... 129
Sunday Groove.................................................100 Shuffle and Swing....................................... 130
Sixteenth Notes.................................................100 5 String Modes Key of “C” 1st Position....... 132
Hit it Hard..........................................................102 5 String Modes Key of “C” 2nd Position...... 134
Canon Progression............................................102 The Gallop Rhythm..................................... 136
Syncopated Bass Lines.....................................103 Double Thumb Groove................................ 136
Syncopated Bass Line with ..............................103 Slap Bass Pop Melody................................ 137
5ths & Octaves..................................................103 Musical Words............................................. 138
Slap & Pop Sixteenth Note Grooves................. 104 Natural Minor Scales................................... 139
Intervals.............................................................105 Blues Scales................................................ 143
Turn Things Around...........................................108 About the Author.......................................... 147
Drop D Tuning...................................................108
Altered Tunings.................................................109 MEMBER CODE......................................... 148
Drop D I-IV-V Progression.................................109
72

My Mojo Is Back
Shuffle Blues 1 - 4 - 5
Here is a blues shuffle rhythm in the key of “A.” This rhythm is a common 1 – 4 – 5
progression. I’ve included the chord change on top of the staff so you can see the

progression clearly. Make sure to use the backing track to create a full band sensation.
A D
 
4x 2x
2 2 4 2
2 2 4 2 0 0 3 4
0 0 3 4

2 3 1 3 2 3 1 3
A E
 
2x 2x
2 2 4 2
0 0 3 4 2 2 4 2
0 0 3 4

A
 
2x
2 2 4 2
0 0 3 4
The Shuffle Feel

The shuffle feel is a common rhythm that has been used by many great blues artists.
This uneven rhythm, also called the swing feel, has a bouncy feel that makes your
body sway to the music. Play the example below of the shuffle feel. The way the notes
are spaced depicts the timing.

A D
 
2x 2x
2 2 4 2
2 2 4 2 0 0 3 4
0 0 3 4
2 3 1 3 2 3 1 3
73

Minor Pentatonic Scales Key of “E” W
Scale Professor
The two most popular keys in rock and blues music are A and E. In Book
1 you learned all five pentatonic scales in the key of “A.” In this lesson you
will learn these five scale patterns in the key of “E.” It’s easy to change
keys with these scales; just move the scale patterns you already know to
different frets.
The 1st scale position always starts on the root note or the key. In the key
of “A,” the 1st scale position starts on the 5th fret which is an A note. In the
key of “E” the 1st scale will start with the open 4th string which is an E note. This position
can also be played an octave higher at the 12th fret.
Look at the following scale diagrams and see where all five positions are played in the key
of “E.” Pay close attention to where all the E notes (root notes) fall within each position.
G A B D E G G A AB BD E D G E G
D E G A B D D E E G A G B A D B D
A B D E G A B D E G A
A B D E G A
E G A B D E G A B D E
E G A B D
1st Position (open)

G A A B B D
G D
AE B E
D G
E G
G A
A B D

D A EB G B A D B G DD AE E G A A
0 2
E G0 2 G A D A EB E
A B
0 2
D E G A B D E
3 3 5 5 7
0 3
E 2 1 G 1 A 1 B D A E B G A B B
D E E G G A
E G G
A B B D D E
3 3
2nd Position E G G A A B
B D G A D E A E B G B

7 9
D 2 E4
9 12
E D12 E 15 G E G
2 5
3 5
2 5 A B BA B D B D
2 4 1 4 1 4 1 3 E G
E G AG AG
3 B 3 5D 5D
74 7 9 9
D E E G G A
Bass Course Book 1_MASTER FILE_EDITED_1+30+12__14pt text.indd 74 A B B D D

12/30/15 11:23 PM E
B D E G A B D E G A
G A B D E A G B A BD E D EG A
E G A B D E
3rd Position
G A A B B D

D E E 4 7G G G A A A
5 7
G 5 A7 B
A B 5 7 B D D E D D G E E A B E D
1 3 1
E G D E3 1 3 1
G G
4
A A B A A D B B E G B A
3 A B 3 D 5 E G E 5 A 7GB D GE
E G A B D E 3 G A 3B
D 4th EPosition E G G A
A B B D D E E

E G G G 7 A 9A A B B
7 9
A B B D 7 D 10 7 E10 D D G E E A B E D GE G G
1 4 1
E 7 G9 A B4 19
A
3
D1 B 312 E G 12
B A 15
DB D D
B D E G E A GB D 7 GE 9 A G A 9 A
G A B D E 3 G A 3B 5 D E 5
5th Position
D E E G G A

G A A 9B 12 B D D E
9 12
D E 10 12 E G G A A B
10 12
2 4 2 4 1 4 1 4
A B B D D E E
E G 7 G 9 A 9 A 12
B 12
3 3 5 5 7
1st Position (octave)

D E E G G A

A B B 12 14D D E
12 14
E G 12 15 12 14 G A A B
1 4 1 3 1 3 1 3
B D D E E G
7 9 9 12 12 15
75

Single Note Patterns Key of “E”
Follow the tablature below to play the double and triplet patterns in the key of “E”
with the 1st and 2nd scale positions. The double pattern is written with no timing on
purpose. First play this pattern in eighth note timing then move to sixteenth notes to
make it more challenging. Remember to use alternate plucking and build your speed
up gradually. Make sure every note is plucked clearly before increasing your speed. I
recommend that you use a metronome to gauge your progress.
Double Pattern – 1st Position

0 2 2 0
0 2 0 2 2 0 2 0
0 2 0 2 2 0 2 0
0 3 3 0
2 1 1 1 1 1 1 1 1 1 1 2

2 4 4 2
2 5 2 5 5 2 5 2
2 5 2 5 5 2 5 2
Double 3Pattern
5 - 1st Position (Octave) 5 3
 12 15
2 4 1 4 1 4 1 4 1 4 1 3 3 1 4 1 4 1 4 1 4 1 4 2
12 14 14 12
12 14 12 14 14 12 14 12
12 14 12 14 14 12 14 12
15 12

1 4 1 3 1 3 1 3 1 3 1 3 3 1 3 1 3 1 3 1 3 1 4 1
0 2 2 0
0 2 0 2 2 0 2 0
0 2 0 2 2 0 2 0
0 3 3 0
2 1 1 1 1 1 1 1 1 1 1 2
Double Pattern - 2nd Position

2 4 4 2
2 5 2 5 5 2 5 2
2 5 2 5 5 2 5 2
3 5 5 3
2 4 1 4 1 4 1 4 1 4 1 3 3 1 4 1 4 1 4 1 4 1 4 2
76


Triplet Pattern – 1st Position
0 0 2
0 0 2 0 2 2
0 0 2 0 2 2
0 3 3
3 3
3 3
3 3
2 2 1 1 1 1 1 1 1

2 0 0
2 2 0 2 0 0
2 2 0 2 0 0
3 3 0
3 3 3 3
3 3
1 1 1 1 1 1 1 2 2
Triplet Pattern - 1st Position (Octave)

12 12 14
12 12 14 12 14 14
12 12 14 12 14 14
12 15 15
3 3
3 3
3 3
1 4 1 4 1 3 1 3 1 3 1 3 1 3 1 3 1 3

14 12 12
14 14 12 14 12 12
14 14 12 14 12 12
15 15 12
3 3 3 3
3 3
3 1 3 1 3 1 3 1 3 1 3 1 3 1 4 1 4 1
Triplet Pattern - 2nd Position

2 2 4
2 2 5 2 5 5
2 2 5 2 5 5
3 5 5
3 3
3 3
3 3
2 4 1 4 1 4 1 4 1 4 1 4 1 4 1 4 1 3

4 2 2
5 5 2 5 2 2
5 5 2 5 2 2
5 5 3
3 3 3 3
3 3
3 1 4 1 4 1 4 1 4 1 4 1 4 1 4 1 4 2
77

The Finger Drag
Often when playing bass lines you will need to play two adjacent strings with one fin-
ger. The most effective way to pluck these is to drag your finger from one string down
to the next. In this exercise you will drag with your index and middle fingers. Don’t pick
the finger up and pluck the next string just let the finger drag off one onto the next string
with one swift movement.

5 5 7
5 7 5 7 5 7 7 5
          
E Minor Pentatonic Scale Groove
Scales are groups of notes that you will use to create bass lines within a certain key.
Here is a great example of a bass line created directly from the E minor pentatonic scale
first position. I’ve outlined where the finger drag technique is used in this bass line.
0
2
 
1


  
1
78

Connecting the Scale Patterns - Pentatonic
If you look closer, the five minor pentatonic scale patterns connect like a puzzle.
These five scale positions fit together perfectly like Legos™. The second half of the
1st position is the first half of the 2nd position; and so on, through all five scales.
Look below to see how this works with the scales in the key of “E”. I’ve used a full
neck diagram so you can see all the scales across the neck and how they connect.
2nd pos. 4th pos. 1st pos. 3rd pos. 5th pos.
G A B D E G A B D E G
D E G A B D E G A B D
A B D E G A B D E G A
E G A B D E G A B D E
1st pos. 3rd pos. 5th pos. 2nd pos. 4th pos.
There is a commonality; the fret distance between each position is always the same. For
example, in any key the 2nd position scale will always start 3 frets higher then the 1st
position. Refer to the chart below to see the relationship of each position to the next. This
will help you easily play these scales in all keys.
• 1st to 2nd position - 3 frets up • 2nd to 3rd position - 2 frets up

• 3rd to 4th position - 2 frets up • 4th to 5th position - 3 frets up
• 5th to 1st position - 2 frets up
Below are all five minor pentatonic scales in the key of “E” so you can see the fret
distance relationship between each:
2 1 3 1 3 1 3 1 4
2 1 4 1 3 1 3 1 4
2 1 4 1 3 1 4 2 4
3 2 4 1 3 1 4 2 4
0 (3 Frets) 3 (2 Frets) 5 (2 Frets) 7 (3 Frets) 10
79

Remember the Day
6 - 4 - 1 - 5 Progression Applying Octaves
Now you will apply the octaves using the slap and pop technique. Take note that you are
slapping on the bass drum hits when you play this with the backing track.
E-6 G-1
S P S S P S P S S P
2 2 5 5
0
 0

0 3
 3

3
1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
C-4 D-5
S P S S P S S P S S S P S
5 5 7 7
3 3 3 5 5 5 5 5 5
 
1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
Hammer Ons
Hammer ons are a widely used bass technique. On the staffs below, you’ll see curved
lines (or slurs) connecting tab notes. This indicates that you’ll be plucking the first note,
but not plucking the second note. The second note will be sounded by pushing your fin-
ger down in a hammer like fashion to make the sound resonate. The “H” on top of that
note represents the hammer on note. Play through the following exercise and remember
to pluck the first note (which is your first finger), and hammer on the second note (which
is either your third or fourth finger).
H H H H
5
5 7
5 7 5 7
7
 
1 3 1 3 1 3 1 3
80

The second exercise is applied to the minor pentatonic scale. These patterns start on the
4th string and go down in three string intervals. Read the tablature, take your time, and
master the hammer on technique because it is widely used in bass guitar.
1st Position
H H H H H H

5 7
5 7 5 7
5 7 5 7
5 8
1 4 1 3 1 3 1 3 1 3 1 3
2nd Position
H H H H H H

7 9
7 10 7 10
7 10 7 10
8 10
2 4 1 4 1 4 1 4 1 4 1 3
Music Assignment
After you feel comfortable doing the hammer ons take all the minor pentatonic
scales you’ve learned so far and apply the hammer on technique. This will help you
memorize the scales and also master this technique.
Inspirational Quote
“Music is a higher revelation
than all wisdom and philosophy.
Music is the electrical soil
in which the spirit lives, thinks and invents.”
Ludwig van Beethoven
81

Pull Offs
Pull offs are basically the opposite of hammer ons. Instead of pushing your finger down
to sound a note, you’re going to pull off (or snap off) your finger to sound a note. You’ll
need to hold a finger down to pull off and one pluck will sound two notes.
Notice on the staff below there are two tab notes with a curved line (or slur) connecting
them. The “P” on top of the second note represents the pull off. Play your first pull off
now.
P P P P

7 5
7 5 7 5
7 5
 
3 1 3 1 3 1 3 1
The second exercise is applied to the minor pentatonic scale. These patterns start on the
4th string and go down in three string intervals. Read the tablature, take your time, and
master the pull off technique because it is widely used in bass guitar.
1st Position
P P P P P H

7 5
7 5 7 5
7 5 7 5
8 5
4 1 3 1 3 1 3 1 3 1 3 1
2nd Position
P P P P P P

9 7
10 7 10 7
10 7 10 7
10 8
4 2 4 1 4 1 4 1 4 1 3 1
Music Assignment
After getting familiar with playing the pull off, and playing it through the
first two minor pentatonic scales, apply this to all five minor pentatonic
scales in the key of “A.”
82

Hammer Ons in a Bass Line
Here is a bass line that incorporates the hammer on technique. It is important that you
apply new techniques so you can start to use them to create your own bass grooves.

 
H H H
5
5 7 7 5 7
0 0 0 0 0 0 0 0 3 5
1 3 1 3 1 3 1 3


H H H H

5
5 7 7 5 7
0 0 0 0 0 0 5 7 3 5
1 3 1 3 1 3 1 3 1 3
Pull Offs in a Bass Line

Here is a bass line that incorporates the pull off technique. Make sure to snap your finger
off to sound the second note.

 
P P P
5
7 5 7 7 5
0 0 0 0 0 0 0 0 5 3
3 1 1 3 3 1 3 1


P P P P

5
7 5 7 7 5
0 0 0 0 0 0 7 5 5 3
3 1 1 3 3 1 3 1 3 1
83

Minor Blues Progression
Here is a popular minor blues progression in the key of “B.” This is a 12 bar blues
progression so it will repeat every 12 measures. Make sure to use the backing track
 
once you can play the entire progression with ease.
Bm
  2 2 2 2 0 2
  
2
2 2 0 2
2 2
2 2 0 2
2 2 2
2 2 0 2
1 1 1 1 1 etc.
Em Bm
2 0 2 0  
 2 2 2 2 2 2 2 2 0 2 2 2 0 2
2 2
2 2 2 2

G7 F#7 Bm

   
 2 2 2 2
 
2 2 0 2 2 0
3 3 3 3 2 2 2 2 2 2
2 1
Turnaround
A turnaround is a riff at the end of a progression that brings you back to
the beginning smoothly. Substitute the following for the last measure of
the song above as a turnaround.
Bm


0
2 2 0 0 2
2 2
1 1 1
84

Root Notes W
The root note is the most important note of a scale; it is also the name of the scale
and at times referred to as the “Tonic” or “Tonal Center.”
In an A minor pentatonic scale, the A note would be the root note. In this lesson take
all five minor pentatonic scales and locate every root note within each pattern. Look
at the diagrams below and you’ll see the root notes depicted.
G A C D E G A C D E G
D E G A C D E G A C D
G
A A C C
D D
E E G G
A A C C
D D
E E G G
A
D
E E G G
A A C C
D D
E E G G
A A C C
D D
E
A C D E G A C D E G A
E G A C D E G A C D E
A C C D D E E G G A
E G G A A C C D D E
A C C
D C
D D
E D
E E G E G G
A G
A A C
E G G
A G
A A C A C C
D C
D D
E D
E E G
3C 5
D 5D 7E 7E 9 G 9 G 12
A 12
A 15
C
G A A C C D D E E G
3 5 5 7 7 9 9 12 12 15
Try playing only the root notes for each scale pattern up the neck. This is a great
exercise for you to memorize where the root notes are in each scale pattern. As
you’re creating bass lines, these are great notes to start or stop on. Look at the
staff on the below and see all the root notes only in tab:

2 14
7 19
0 12 24
5 17
85

House of the Rising Sun
In this progression you will play notes in a triplet feel. Pay close attention to the fingering
to help you get the rhythm feel. The timing is the same for each measure so once you
have the timing for the first measure apply the same for the rest.
A C
0 0 0 0 0 0 0 3 3 3 3 3 3 3
Finger: 3
etc.
D F A
0 0 0 0 0 0 0
0 0 0 0 0 0 0
1 1 1 1 1 1 1
1
C E A
3 3 3 3 3 3 3 0 0 0 0 0 0 0
0 0 0 0 0 0 0
3
C D F
0 0 0 0 0 0 0
3 3 3 3 3 3 3
1 1 1 1 1 1 1
3 1
A E A
0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0
0 0 0 0 0 0 0
86

The Major Scale Formula
The major scale is the mother of all music. I call it this because most music starts from
the major scale, and we make other scales or chords by altering the notes of the major
scale.
Let’s learn the formula used to create a major scale. A major scale is constructed using
a series of whole steps and half steps. The pattern is: whole step, whole step, half step,
whole step, whole step, whole step, half step, or commonly written W – W – H – W – W
– W – H. If you start on any note and use this formula you will create a major scale. The
starting note will also be the root note (or key). Here’s an example: start with a root note
C on the 3rd string, 3rd fret and create a C major scale up this string.
C D E F G A B C
 3 5 7 8 10 12 14 15
H H
W W W W W
W - C to D
W - D to E
H - E to F
W - F to G
W - G to A
W - A to B
H - B to C
The C major scale is C – D – E – F – G – A – B – C. This will be the only natural scale,
meaning the only scale that won’t need any sharps or flats to make the formula work.
Every other scale will have at least one flat or one sharp.
You just learned a C major scale up one string by using the major scale formula. You
wouldn’t usually play a scale up one string like this. In the next lesson you’ll learn how to
play those same exact notes in one position patterns.
87

Major Scale One Octave Patterns
Scale Professor
Here are two one octave major scale patterns in the key of “C”. The C
note (root note) is shown inside of a white dot. The first root note is on the
G A B C D
4th string the second is on the 3rd string. These are movable patterns so
you can play these starting on any fret of the bass.
D E F G A
A B C D E F
E F G A B C
C Major A B C

A B C E F G
7 9G 10 A B C D E F G
7 8 10 E F G C D
8 10
2 4 1 2 4 1 D
3 4 E F G A B C D
C D
A B C D E F G A
7 9 3 5
E F G A B C D E F
12
A B C F
D E F E G

2 A4 5 B C E F G
C
2 3 5 A B C B D
3 5 E F G C D
E F G G A
2 4 1 2 4 1 3 4
C D
F
C D D E
7 9 3 5
7 9 9 12
As you play these two scale patterns say the name of each note out loud as you
pluck them. This will help you to train your ear connecting each note with a pitch.
Also memorize the finger pattern which is the finger numbers used on each string. In
this case it will be: D E F E F G G A
1-3-4
A B C B C D D E
1-2-4
E F2-4 G G A A B
88 C D D E F E F
7 9 9 12

Music Assignment
After you have these patterns memorized move them to different frets
and get familiar playing them in other keys. Remember the first note
of each pattern is the key or root note. I’ve outlined them in the key of
“G” and “B” below, after you play them in these keys transpose them
to the keys of A and D. You will see these patterns as you play bass
lines.
G Major E FB G

2 4 5 E FB G B C D
2 3 5
3 5 B C D G A
2 4 1 2 4 1 3 4
G A
3 5 9 12
E FB G

9  G
11 FB12
C
9 10 12 E B D
10 12
B C D G A
2 4 1 2 4 1 3 4
G A
3 5 9 12
B Major
GB AB B

6 8 9 GB AB B DB E FB
6 7 9
7 9 DB E FB B C
2 4 1 2 4 1 3 4
B C
7 9 3
GB AB B


GB1 3 AB4 B DB E FB
1 2 4
DB FB C
2 4
E B
2 4 1 2 4 1 3 4
B C
7 9 3
89

G A B C D E A
F B
G C
D E F AG BA C B E
C F D G
A B C ED F E GF G C A D
A C DC
Major Scale Four String
E
Patterns
F G
7
W
9
B D
3
E F
5
12
These five scale patterns contain all the notes in the C major scale spanning your whole
bass neck. The root notes are depicted with white dots. I’ve also B Ca full neck
A included
diagram of where all the C major notes fall across the neck.
A B C E F G
1st Position D E F E F G
E F G C D

7 9 10 A B C B C D
7 9 10 C D
7 8 10 7 9 E F3 G5 G A
8 10
2 4 1 2 4 1 3 4 1 3 4
C D D E
G A B C D E F 7 G 9 A 9B C 12D
D
2nd Position E F G A B C D E F G A
D E F E F G G A

A B C E F D G A B C D E
A9 10 12 B C B C D D E
E F G 9 10 12A B C D E F G A B
10 12 E F G G A A B
10 12 13
1 3 4 1 3 1 2 4 1 2
C4 D D12 E F 15 E F
A 7 B 9C 9 12
B C
A (Octave)
3rd Position E F G
G A B C D E F G A B C D E
E F G C D

D E F G A 12 14 B C D E F G A B
C D 12 14 15
A
712 13 159
C12 14 15D
B E F
3 5
G A B C D E F
E F1 2 4 G 1 3 4A 1 3 4 1 3
B C D E F G A B C
12 15
3rd Position (Octave Lower)
D E F A E FB C G G A A B C
E
A A CB C B E BF C3 0G 2 D D E F E F G
0 2
0
FE 0F 1 G3 G 2 3 C D
G A A B C B C D
1 3 2 3 2 3 2
C C D D D E F E F G G A
7 9 3 5
7 9 9 12 3 3 5
90
D E F
Bass Course Book 1_MASTER FILE_EDITED_1+30+12__14pt text.indd 90 E F G G A A B
12/30/15 11:23 PMC
A B C D E F G A B C D E
12 15
A B C
E F 4th Position
E F G G A A B C B C D
F G

B C B C D D2 4 5 E F E F G G A
C D 2 3 5
F G G 2A 3 5 A B C B C D D E F
3 5
C D D2 4 1E 2
F4 1 2 4
E1 3
F 4
G G A A B C
3 5
9 9 12 3 3 5 5 7
F G 5th PositionG A A B C B C D

C D D E F E4 5F 7 G G A
5 7
G A A 5B 7 C8 B C D D E F
5 7 8
1 3
D E F E F4 1 3
G4 1 3 1 2
G 4
A A B C
12 3 3 5 5 7
Music Assignment
This is a full neck diagram that shows every note in the C major scale
across the bass neck. Find all the four note patterns you learned in this
lesson in this diagram. It’s important to start seeing the scales across the
neck together as a whole and not just small scale patterns.
G A B C D E F G A B C D E F G
D E F G A B C D E F G A B C D
A B C D E F G A B C D E F G A
E F G A B C D E F G A B C D E
A B C Learn Bass 2 - Quiz 1

E F G
C D
register.
7 9
91

Walking Bass Lines
Walking bass lines are one of the most melodic sounding bass parts. Those of you who
are fans of swing jazz or blues are probably already familiar with the walking bass sound.
In this lesson you will learn standard blues influenced walking bass lines. Blues walking
bass lines have a more structured repetitive pattern. Jazz walking bass lines tend to be
more improvisational in nature, almost like playing a bass solo.

Example 1 A
  5 5
4 4 7 7
4
7
5 5
4 4 7 7
4
7
5 5
4 4 7 7
4
7
5 5
4 4 7 7
4
7
2 2 1 1 4 4 1 4 etc.
D A

4 4
4 4 7 7 7 4 4 7 7 7 4 4
5 5 5 5 4 4 7 7 7 4 4 7 7 7
5 5 5 5

Turnaround
E D A E
 
6 4
6 6 9 9 9 4 4 7 7 7
7 7 5 5 4 4 5 5 6 6 7 5 6 7 7 7
5 5

Example 2 A
  5 5
4 4 7 7
4 4 5 5 4 4
7 7 4 4
5 5
4 4 7 7
4 4 5 5 4 4
7 7 4 4
2 2 1 1 4 4 1 1 2 2 1 1 4 4 1 1 etc.
D A

4 4 5 5 4 4
4 4 7 7 7 7 4 4 4 4 5 5 4 4
5 5 4 4 7 7 7 7 4 4
5 5

Turnaround
E D A E
 
6 6 4 4
6 6 9 9 4 4 7 7
7 7 5 5 4 4 5 5 6 6 7 5 6 7 7 7
5 5
92

Ramone
This is a heavier rhythm feel. Notice the there are consistent eighth notes using alternate
plucking for each measure to achieve a heavier rhythm sound. Make sure to play this
along with the backing tracks.
G -1 C-4 D-5
3 3 3 3 5 5 5 5
3 3 3 3 3 3 3 3
Finger: 1 1 3
Voodoo Girl
6 - 2 - 1 - 5 Progression
For this progression you will use minor triads for the first two measures under the A and
D minor chords. For the C and G chords you play notes from the major scale of each.
Make sure to play this with the backing tracks.
Am Dm
2
0 0
   
2 0 3
0 0 0 3
Finger: 2 1 2 1
Finger: 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
C G
5 3 2
3 3 3 5 5 3 2
3 3 3 3
2 4 2 1 4 2 4 2 1 2
1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
93

Exercise Routine
Here is a series of exercises to help develop coordination of both hands together. It’s
important to have a series of exercises that you practice daily to improve your technique.
This will enable you to play more challenging bass lines.
The Killer

8 7 6 5
6 5 8 7 8 7 6 5
6 5 8 7 8 7 6 5
6 5 8 7
4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1

5 6 7 8
5 6 7 8 7 8 5 6
5 6 7 8 7 8 5 6
7 8 5 6
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
Finger Twister

8 6 5
5 8 6 8 6 5
5 8 6 8 6 5
5 8 6
4 1 2 4 1 2 etc.

5 6 8
5 6 8 6 8 5
5 6 8 6 8 5
6 8 5
2 1 4 2 1 4 etc.
 
 
Finger Drag Exercise

0 0
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
   
0 0 0 0 0 0
etc.
94

Lateral Pivot Exercise

5 4 5 2 5 4 5 5 4 5 2 5 4 5 7 5 7 4 7 5 7
2 3 5
   
1 4 3 4 1 4 3 4 2 4 3 4 1 4 3 4 2 4 2 4 1 4 2 4
etc.

9 7 9 5 9 7 9 10 9 10 7 10 9 10 12 10 12 9 12 10 12
7 9 10 10
2 4 2 4 1 4 2 4 3 4 3 4 1 4 3 4 2 4 2 4 1 4 2 4 2
Following the Root Notes

Many times when you are creating bass lines you will follow the root note for each chord in the progression.
A trick you can use when playing with a guitarist is to watch what fret they play the chord and play the note
on that same fret on your 3rd or 4th strings.
Below is a progression that I wrote out so you can see how the bass can follow the chord changes.
Guitar Chord Progression

Am F G Em
 
0 1 3 0
1 1 3 0

2 2 0 0
2 3 0 2
0 3 2 2
1 3 0
Bass Line
 
Am F G Em
  0
1 3 0

95

Yeah Mon
Reggae Progression
This is a reggae rhythm progression using major triads. Use the backing track to help
understand the timing for this rhythm.
G C D
2 5 4 7
2 5 3 3 5 5
3 3
Finger: 2 1 4 2 1 4 2 1 4
Notes in the 5th Position W

You have previously learned the notes in the first position witch spanned the first four
frets. Now let’s go through the notes starting in the 5th position using the chromatic
scale. Play the notes below and call out the name of each as you do so, this will help you
memorize the names effectively.
C D
G A
D
A
3 5 7
96

Find Any Note on the Bass
Using the chromatic scale and the names of the open strings you can learn the name
of any note on the bass. It’s very important to memorize the note names to help as you
study how triads and scales are formed.
Below is a complete neck diagram showing the names of every note on the bass. Start
with each string open and move one fret at a time up the neck to the 12th fret. Say out
loud the name of each note. Once you have done each string several times you are
ready to move on to the next part of this lesson the music assignment.
3 5 7 9 12 15 17 19 21 24
One thing to note, the bass repeats its notes after the 12th fret. This is why most basses
have two dots at the 12th fret. For example the open 4th string is an E note when you get
up to the 12th fret it is an E note again. The 4th string 1st fret is an F note and 12 frets
higher on the 13th fret is another F note.
Music Assignment
Below is a series of string and fret numbers. Your assignment is to find
the name of each note without using the chart above. You need to be
able to find the name of any note just using the open strings and the
chromatic scale. I’ve given you the first answer as an example.
1. 1st string 7th fret – answer D note 6. 1st string 5th fret –
2. 4th string 3rd fret – 7. 2nd string 3rd fret –
3. 2nd string 8th fret – 8. 4th string 9th fret –
4. 4th string 7th fret – 9. 3rd string 4th fret –
5. 3rd string 10th fret – 10. 1st string 3rd fret –
97

Slap & Pop Groove
In this example you will slap the open E string and pop the open G string. On the fourth
beat of each measure there is a two note riff to add a little melody into the riff. Once you

have the bass line so you can play it smoothly play it along with the backing track.
 
S S P S S P S S P S S P P
0 0 0 7 9
0 0
 0 0
 0 0
 0 0

 
S S P S S P S S P S S P P
0 0 0
  
0 2
0 0 0 0 0 0 0 0
Music Assignment
A great way to practice the slap technique is to play the C major scale
1st position forwards and backwards using the slap technique to sound
each note. Here are a few things that will help you slap more effectively.
Make sure to strike the thumb hard and move it away from the string
quickly, this will help make a solid tone. Also make sure to mute the
strings around the note you are slapping, because you are striking the strings hard the
other strings will have a tendency to ring out.
Legato
In Book 1 you learned staccato, legato is the opposite of staccato. The definition of le-
gato is smooth and connected. To play notes with a legato technique you will use ham-
mer ons, pull offs and slides. To play a slide you pluck the first note and while holding
the pressure down on the note you slide the finger up or down the neck to another note.
When notes are to be played using legato there will be a curved line also known as a slur
placed over these notes.
Example 1 Slides Example 2 Hammer Pull Offs & Slides
sl. sl. H P sl.

5 7 5 5 7 5 4
1 1 3 1
98

Hammer Pull Off Single Note Pattern
Here is a pattern that combines the hammer on and pull off together to form a great
sounding technique. There will be three notes sounded with only one pluck. Pluck the
first note and with one swift motion hammer and pull of the next two notes.
H P H P
 5
1
7
3
5
1
5
1
8
4
5
1
1st Position
H P H P H P H P

0 2 0
0 2 0
0 2 0
0 3 0
2 1 1 1
H P H P H P H P

0 2 0
0 2 0
0 2 0
0 3 0
1 1 1 2
1st Position (Octave)

H P H P H P H P

12 14 12
12 14 12
12 14 12
12 15 12
1 4 1 1 3 1 1 3 1 1 3 1
H P H P H P H P

12 14 12
12 14 12
12 14 12
12 15 12
1 3 1 1 3 1 1 3 1 1 4 1
99

Sunday Groove
Hammer & Pull Offs in a Bass Line
Here is a bass line that incorporates the hammer on pull off technique. After you feel
comfortable playing this bass line play it along with the backing track and apply it in a

band setting.
 
H P P H

7 5 5
5 7 5 7 5 7
0 0 0 0
3
1 3 1 3 1 3 1 1 3

 
H P P H P

7 5 5

5 7 5 7 5 7 5
0 0 0 0
3 3
1 3 1 3 1 3 1 1 3 1
Notice that the hammer pull offs used in this progression are played as triplets.
This is common because there bare three notes in each hammer pull off. Count
the timing out loud before you play the progression. There is quarter notes, eighth
notes and triplets here and it may take a little practice to get the feel of the timing.
Sixteenth Notes
A sixteenth note receives ¼ beat of sound. It subdivides one beat into four equal
sections. Sixteenth notes are twice as fast as an eighth note. Count out sixteenth
notes now as follows:
1 e & ah 2 e & ah 3 e & ah 4 e & ah
100

There are four subdivisions for every one beat. Tap your foot down on each beat or
number. Now play sixteenth notes on the 4th and 3rd strings using alternate plucking.
 
Example 1
  0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

               
Count: 1 e & ah 2 e & ah 3 e & ah 4 e & ah
 

Example 2
  0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
               
Count: 1 e & ah 2 e & ah 3 e & ah 4 e & ah
Accent (pluck harder) on the down beat to get a true sixteenth note feel.
Music Assignment
Count eighth and sixteenth notes along with your favorite music. As a
song is playing, tap your foot and count along using eighth and sixteenth
note timing. Get familiar counting these note values because they are
very common in every genre of music.
Inspirational Quote
“When people hear good music,

it makes them homesick for something they never had,
and never will have.”
Edgar Watson
101

Hit it Hard
Sixteenth Notes in a Bass Line
This bass line incorporates the sixteenth notes you just learned. Make sure to use the
new counting method, 1 – e – & – ah, as you play the following bass line.


1 e & ah 2 e & ah 3 e & ah 4 e & ah etc.
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Canon Progression
Canon is a very popular classical piece and many rock and pop songs have borrowed its
structure. I’ve outlines the chord changes above the staff, The bass plays the root notes
for each chord.

C G Am Em
  3 3 3 3 3 3 3
3 3 3 3 3 3 3
0 0 0 0 0 0 0
0 0 0 0 0 0 0

3
F C F G
 1 1 1 1 1 1 1
3 3 3 3 3 3 3
1 1 1 1 1 1 1 3 3 3 3 3 3 3

1 3 1 3
102

Syncopated Bass Lines
A syncopated rhythm has accents that are not in the common places as a straight
rhythm. I like to think of a syncopated rhythm as a rhythm that moves and makes your
body move with it. In this rhythm you will find syncopated accents. Pay close attention
to the staccato markings below the staffs.

  0 0
1 e & ah 2 e & ah 3 e & ah 4 e & ah 1 e & ah 2 e & ah 3 e & ah 4 e & ah
0 0  0 0 0   0
0 0 
0 0 0 0  0 
0 0 0 1 1 1

1
 
0 0  0 0  0 
0 0 0 0  0 0 0  0 0  0 
0 0 0 3 3 3
3
Syncopated Bass Line with

5ths & Octaves
Now you will add fifths and octaves into the syncopated rhythm. This is more challenging
so take your time starting off slow and building your speed gradually.

  0 0
7 7
0 0 0 7 7 0 0 0
7 7
0 0 0 1 1
3
3 3 3 3 3 3 1 1 3

 0 0
7 7
0 0 0 7 7 0 0 0
7 7
0 0 0 3 3
5

3 3 3 3 3 3 1 1 3
103

Slap & Pop Sixteenth Note Grooves
Here are three slap and pop grooves that accent different sixteenth note timings.
Pay close attention to where each pop comes within each groove. This will give it a
syncopated feel.
Example 1


1 e & ah 2 e & ah 3 e & ah 4 e & ah
2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0
S P S S S P S S S P S S S P S S
Example 2


1 e & ah 2 e & ah 3 e & ah 4 e & ah
2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0
S S P S S S P S S S P S S S P S
Example 3


1 e & ah 2 e & ah 3 e & ah 4 e & ah
2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0
S S S P S S S P S S S P S S S P

register.
104

Intervals W
An interval is the distance between two notes. Each interval has a distinct sound.As you play the
following intervals make sure to listen closely to the sound of each. These intervals
are used in chord construction and harmony. It is very important that you work hard to
memorize their sound. You can use the “Ear Trainer” tool at the Lesson Support site to
help test and train your ear. Minor
Second
Minor 2nd
b2
(b2)
R b2
 2 3
Major
2
Second
(2) D
Major 2nd
R 2
 2 4
Minor
Third
Minor 3rd
b3
(b3)
R b3
 2 5
Major
Third
3
(3)
Major 3rd
R 3
 2
1
105

Minor Perfect
4
Second Fourth
(b2) (4)
Perfect 4th
Minor Perfect
R P4

Second Fourth
(b2) (4)
Minor Perfect
2 Second Fourth
2 (b2) (4)
Minor Perfect
Second Fourth
Augmented
Major
(b2) (4)
Fourth
Second
(2) Diminished Fifth
(+4 or b5)
Major
Second #4
Augmented
Fourth
b5
(+4 or b5)
Augmented 4th/Diminished 5th Augmented
Major
Fourth
R +4/b5 Second

(+4 or b5)
Major Augmented
3 Second
Minor
Fourth
Perfect Fifth
2 (2) Diminished
Third Fifth
(+4 or b5)
(b3) (5)
Minor Perfect
Third Fifth
(b3) (5)
Minor Perfect
Third Fifth
(b3)
5
(5)
Perfect 5th Minor Perfect
R P5 Third

Fifth
Major
(b3) Minor
(5)
Third Sixth
(3) (b6)
4
2 Major Minor
Third Sixth
(3) (b6)
Major Minor
Third Sixth
(3) (b6)
Major Minor
Third Sixth
Minor 6th
(3) b6
(b6)
R b6
 2
5
106

Minor Perfect Major
6
Second Fourth Sixth
(b2) (4) (6)
Major 6th
R 6

Minor Perfect Major
Second Fourth Sixth
(b2) (4) (6)
1
Minor Perfect Major
Second
2 Fourth Sixth
(b2) (4) (6)
Minor Perfect Major

Second
Major Fourth
Augmented Sixth
Minor
(b2)
Second (4)
Fourth (6)
Seventh
(2) Diminished Fifth (b7)
(+4 or b5)
Major Augmented Minor
Second Fourth Seventh
Minor 7th
(+4 or b5) b7
(b7)
Major Augmented Minor

Second R b7 Fourth

Seventh
(2) Diminished Fifth (b7)
(+4 or b5)
Major 2 Augmented Minor
Second Fourth Seventh
Minor 2 Perfect Fifth
Diminished Major
(2)
Third (b7)
Fifth
(+4 or b5) Seventh
(b3) (5) (7)
Minor Perfect Major

Third Fifth Seventh
(b3) (5) (7)
Minor Perfect Major

Third Fifth Seventh
Major 7th
(b3) (5)
7
(7)
Minor Perfect Major

R 7

Third
Major Fifth Seventh
Minor Perfect
(b3) (5) (7)
Third Sixth Octave
(3) 3 (b6) (8)
Major 2 Minor Perfect

Third Sixth Octave
(3) (b6) (8)
Major Minor Perfect

Third Sixth Octave
(3) (b6) (8)
Major Minor Perfect

Third Sixth Octave
Perfect Octave
(3) (b6)
8
(8)
R P8

4
2
107

Turn Things Around
This is another blues shuffle rhythm with a turnaround in the last measure. The
turnaround brings the progression back to the beginning in a seamless circle
fashion.
E A
4x
4 2
4 2 0 0 0 0 0 0
0 0 0 0 0 0
Finger: 3 1 3 1
E B
4 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0
3 1 1
A E
4 2
0 0 0 0 0 0 4 2
0 0 0 0 0 0
3 1 3 1
Drop D Tuning
Drop D tuning lowers the 4th string E down one whole step while all the other three
strings stay at standard pitch. From high to low the strings would be:
G D A D
Now put your bass into (Thinnest)
drop D tuning. Here is an easy way to do it: if starting from
(Thickest)
standard tuning you already have a2nd
1st String D open
String string the 2nd
3rd String 4thstring,
String pluck this string open
and let it ring out, then pluck your 4th string open and tune it down slowly until you hear
F C
the pitches come together. Remember all the other three strings stay standard tuning. G C
108

D A E B 12/30/15 11:23 PM
G D A D
F
AlteredCTunings
G C
(Thinnest) they are not used in this
Although (Thickest)
book there are other versions of altered tunings where
1st String 2nd String 3rd String 4th String (Thinnest) (Thickest)
strings are lowered anywhere from a ½ to 2 whole steps. Let’s look at a few popular al-
1st String 2nd String 3rd String 4th
tered and drop tunings: D tuning has all four strings lowered one whole step, drop C tun- String
D A E B
ing is the same as D tuning except the low E string is lowered another whole step to C.
G D A D
D Tuning Drop C Tuning
(Thinnest) (Thinnest) (Thickest) (Thinnest)
(Thickest) (Thickest)
1st String 2nd String 3rd1st
String
String 4th2nd
String
String 1st
3rd StringString 2nd String
4th String 3rd String 4th String
F C GG DD A F D C G C
B tuning simulates the bottom
(Thinnest)4 strings of a 5 string bass.
(Thinnest) For this tuning every string
(Thickest) is
(Thickest)
dropped 2 whole steps.1st
This tuning
String 2ndloosens
String the tension onString
1st String
3rd String 4th the neck drastically;
2nd String 3rd String you may
4th String
need to adjust the bass truss rod to tune in this fashion.
F GD C A
CB Tuning E B
D A E B
F C G D
Drop D I-IV-V(Thinnest)
Progression
1st String 2nd String 3rd String
(Thickest)
4th String
F C G
The I-IV-V progression is the most popular chord progression. This chord progression is D
constructed by building chords off the 1st – 4th and 5th degrees of a major scale. Many
songs in all genres of music have been written using this chord structure so it should
sound familiar.
 
D G A
  
G
D
A
D 0 0 0 0 0 0 0 0 5 5 5 5 7 7 7 7
1 1 1 1 3 3 3 3
109

Mean Street
Drop D Bass Line
Here is a bass line that incorporates the drop D tuning. Once you feel comfortable
playing the bass line play it over the backing track and hear the full heavy sound this
tuning creates.

D F

 

G
D
A
D 0 0 3 3
   
Count:1 & 2 & 3 & 4 &

G



3x

5
5 5 0 5 6 6
     
1 & 2 & 3 & 4 &

D
 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
Practice Tips
To ensure constant progress and high motivation you have to develop practice habits that will keep
you interested and challenged. Here are a few tips:
Practice Consistently - You need to give your fingers a chance to gain muscle memory. Practice
every day even if it is for a short amount of time, be consistent.
Practice Area - Have a practice spot set up so you can have privacy to focus on your playing. It is
a great idea to have a music stand to help position your music so you can sit comfortably.
Practice Schedule - Set a scheduled practice time each day and make this a routine. Other times
in the day you can play for fun and jam a little.
110

Big Bottom
Bass Chords
Chord Professor
Here are a few examples of using chords in a bass line. These pieces
use single notes and chords separately and combined to form great bass
lines. Below are the chords that are used in these bass lines.
F5 E5 Eb5
1
7 7 1 7
1 3
9 9 3 9
3
R 5 R 5 R 5
F C E B Eb Bb
Example 1
F5 E5 Eb5 E5

10 9 8 9
8 7 6 7
3 3 3 3
1 1 1 1
Example 2
F5 E5 Eb5 E5

10 9 8 9
8 7 6 7
0 0 0 0 0 0 0 0
3 3 3 3
1 1 1 1
Example 3
F5 E5 Eb5 E5

10 9 8 9
8 8 7 7 6 6 7 7
0 0 0 0
1 3 1 1 3 1 1 3 1 1 3 1
111

Music Assignment
After you have played these chords in these three examples it’s time to
make your own bass line with chords. Using basic power chords like in
these examples create your own bass line. Combine strumming, and
plucking to the notes. You should write your creations out in tablature to
build a collection of your own ideas. This will help you to develop your
own style and sound.
Vibrato
Vibrato is a technique where you slightly shake a note to give it a wider sound spectrum.
This can be compared to a singer’s wavy sound created as they hold out a note. You
want to make the notes on your bass sing in a similar fashion.

Example 1
sl.

7 7 9
9 9
3 1 3 1 3
   

Example 2
F5 E5 Eb5 E5

10 9 8 9
8 7 6 7
0 0 0 0 0 0 0 0
3 3 3 3
1 1 1 1
      
 
Example 3
F5
  8
0 0
7
0 0
6
0 0
7
0 0
 3 0 0 2 0 0 1 0 0 0
3 1 1 1 3 2 1
112

Hammer Ons and Pedal Tones
Now you will play a bass line using hammer ons while pedaling the open A string. Pedal-
ing is going back to a note or group of notes within a phrase. Make sure to use the back-
ing track to apply this bass line in a full band fashion.
 
  
H H H H H H
3x
12 14
5 7 10 12 12 14 12 14 10 12
0 0 0 0
1 3 1 3 1 3 1 3 1 3 1 3
H H H H H H

5 7 10 12 9 10 7 9 5 7 5 7
0 0 0 0
1 3 1 3 1 3 1 3 1 3 1 3
The Mexican Snake Song

This song is a I – IV – V – IV progression in the key of “C.” Make sure to play this over
the backing track to apply it in a full band fashion.

C F G F
 
let ring
  
0 2 0 0
2 3 0 3 3 2 0
3 2
3
2 1 2 1 2 1 2 2 1
113

Riff Oriented Bass Lines
Often bass lines are formed by playing in unison with the guitar or keyboard player
adding more focus to a riff. This bass line has a few sections that I’ve outlined for you.
Play each section then put them all together with the backing track. This bass line is in
 
drop D tuning.
 
Main Riff
   

3x
G
D
   
A 7 6 5
D 7 7 5 5 2 2 2 2 2
3 2 1 3 3 1 1 1 1 1 1 1
   
 7 6 5
7 7
 5
 
5

2 2 0 1 0
3 2 1 3 3 1 1 1 1 1

B Section sl. sl.
  5  2

2 0 2 2 0 1 0 2 0 2 7 0 1 0
1 1 1 1 1 1 1 1

sl. let ring
2 0

2
 5 0 1 0 2 0 2 2 2
2
1 1 1 1 1 1 1
   

Ending
   
7 6 5
7 7 5 5 2 2 2 2 2
3 2 1 3 3 1 1 1 1 1 1 1
     
 7 6 5
7

7

5

5
 2
2
3 2 1 3 3 1 1 1 1
114

Playing with the Guitar
Many bass lines are formed by playing riffs that are also playing with the guitar. Here is a great example
of a bass line where the guitar plays the riff along with the bass line. This is in drop D tuning so make

sure to tune your 4th string down to D.
  0 0 0 5 6 3 0 0 3 5 3 5 3 5 0 0 0 5 6 3 0 0 3 5 3 5 3 5
 
H H H H H H

G
D
A
D
   
3 4 1 3 4 3 1 3 3 4 1 1 3 1 3 1 3

   
 00 0 5 6 3 0 0 3 5 3 5 3 5
H H H
 3 3
3 3 3
  
1 1 1 1 1
3 4 1 1 3 1 3 1 3 3 3 3 3 3 1 1 1 1 1
Syncopated Sixteenths
Sixteenth notes can be played many ways. In this bass line they are played in a syncopated fashion
creating a lively rhythm. Notice when you play this with the backing track that the bass drum hits along
with the five sixteenth notes in the beginning. This creates a very powerful heavy sound.
 
Example 1
  
 
1 e & ah 2 e & ah 3 e & ah 4 e & ah
3x

0 0 0 0

0

1.

   

1 e & ah 2 e & ah 3 e & ah 4 e & ah
0 0 0 0

0 3

115
2.
   

1 e & ah 2 e & ah 3 e & ah 4 e & ah
0 0 0 0 0 6


   
 0 0 0 0

0

3
2.
   

1 e & ah 2 e & ah 3 e & ah 4 e & ah
0 0 0 0

0

6
Here is a version of this bass line using eighth notes. You can play this along with the
same backing track as the sixteenth note example.
 
Example 2
  

1 & 2
3x

0 0 0

1.

 

1 & 2 & 3 & 4 &
0 0

0

3
2.
 

1 & 2 & 3 & 4 &
0 0 0
 
6
Dotted Notes
The dot after a note increases the duration of the note by half of its original value. If the basic note
is a half note (2 beats), the dotted note is 3 beats or counts. A dotted quarter note would receive 1
½ beats or counts. The ii-V-I Progression on the next page will use the dotted quarter notes.
 = =  = =
  = =
Dotted
Dotted Dotted
Dotted
Dotted Dotted

Quarter
QuarterNote
Note Half
HalfNote
Note
55 5 5++5 5 55 5 5++5 5
 5 5 + 5 5 5 + 5
5 7 
1 1/2 Beats 3 Beats
116

The ii-V-I Progression
Another common chord progression is the 2 – 5 – 1 progression (also written ii – V – I). In this
progression chords are built from the 2nd, 5th and 1st degrees of a major scale. You will
use triads to outline the chord changes. This progression is most popular in jazz music
but can be found in many other genres. The progression in the lesson is in the key of “C.”
   
Dm7 G7
  5 
2
3 3
5
3
Finger: 4 2 1 1 4 2
Count: 1 & 2 & 3 & 4 & etc.
    
Cmaj7
 3
2 5
3
2 5

2 1 4 2 1 4
Combining Major and Minor Triads

Here is a great example of applying your triads together to create a complete bass line.
Make sure to use the triad shapes you learned to make the transitions easier.

Cm Gm
 
8 8 8 8 3 3
10 10 10 10 10 10 5 5 5
10 10 10 10 5 5
8 8 3
1 3 4 1 4 3 4 1 1 3 4 1 4 3 4 1 1 3 4 1 4 3 4 1

A
 
3 3 6 6 6 6
5 5 5 7 7 7 7 7 7
5 5 7 7 7 7
3 5 5
1 3 4 1 4 3 4 1 1 3 4 2 4 3 4 2 1 3 4 2 4 3 4 2
117

Natural Minor Scales W
Key of G positions 1, 2 & 3
Scale Professor
The natural minor scale is a seven note scale. It is the pure minor scale
also known as the Aeolian mode. In this lesson you will learn the first
three positions in the key of “G”. The notes of the G natural minor scale
are G – A – Bb – C – D – Eb – F – G. This scale sounds a bit more melodic
then the pentatonic scale, this is because the intervals are smaller be-
tween notes. Play through these positions and notice that the root notes
are in white. Memorize the finger patterns on each string to help you learn
these scales.
1st Position
A B C

2 3 5 F G
3 5
E
3 5 6
3 5 6 C D
B
1 3 4 1 3 4 1 3 1 2 4
G A
3 5
2nd Position
C D E

5 7 8 G A B
5 7 8
E
5 6 8
5 6 8 D F
B
1 2 4 1 2 4 1 3 4 1 3 4
A C
5 7
3rd Position
D E F

7 8 10 A B C
7 8 10
6 8 10 E F G
6 8 10
B
1 2 4 1 2 4 1 2 4 1 2 4
C D
7 9
118

Natural Minor Triplet Pattern
Now that you have learned a few natural minor scale positions, lets put them into an interesting pattern.
By varying the notes into patterns you can see how they can be transformed into bass lines.
1st Position

2 2 3 2 3 5
3 3 5 3 5 5
3 3 5 3 5 6 5 6 6
3 5 6 5 6 6
3 3 3
3 3 3
3 3 3
1 3 4 3 4 1 4 1 3 1 3 4 3 4 1 4 1 3 1 3 1 4 1 2 1 2 4

5 3 2 3 2 2
5 5 3 5 3 3
6 6 5 6 5 3 5 3 3
6 6 5 6 5 3
3 3 3 3 3 3
3 3 3
4 2 1 2 1 4 1 3 1 3 1 4 1 4 3 4 3 1 3 1 4 1 4 3 4 3 1
2nd Position

5 5 7 5 7 8
5 5 7 5 7 8 7 8 8
5 5 6 5 6 8 6 8 8
5 6 8 6 8 8
3 3 3 3
3 3 3
3 3 3
1 2 4 2 4 1 4 1 2 1 2 4 2 4 1 4 1 3 1 3 4 3 4 1 4 1 3 1 3 4

8 7 5 7 5 5
8 8 7 8 7 5 7 5 5
8 8 6 8 6 5 6 5 5
8 8 6 8 6 5
3 3 3 3 3 3 3
3 3 3
4 3 1 3 1 4 1 4 3 4 3 1 3 1 4 1 4 2 4 2 1 2 1 4 1 4 2 4 2 1
119

3rd Position

7 7 8 7 8 10
7 7 8 7 8 10 8 10 10
6 6 8 6 8 10 8 10 10
6 8 10 8 10 10
3 3 3 3
3 3 3
3 3 3
1 2 4 2 4 1 4 1 2 1 2 4 2 4 1 4 1 2 1 2 4 2 4 1 4 1 2 1 2 4

10 8 7 8 7 7
10 10 8 10 8 7 8 7 7
10 10 8 10 8 6 8 6 6
10 10 8 10 8 6
3 3 3 3 3 3 3
3 3 3
4 2 1 2 1 4 1 4 2 4 2 1 2 1 4 1 4 2 4 2 1 2 1 4 1 4 2 4 2 1
Combing Triads with Scales

When you combine triads and scales you have all the tools to create interesting and
complex bass lines. Here is a bass line that combines these techniques:
120

Natural Harmonics
Natural Harmonics are “chime-like” notes that are sounded by lightly touching the
string above a point in the string length which divides the string into equal parts.
Using Harmonics will help you obtain very high pitch notes difficult or impossible to
reach by fretting. When playing harmonics at the 12th fret, we are dividing the string
into two halves, which oscillate to produce the bell like chime called a harmonic. The
harmonics at the fifth fret divide the string into quarters, the 7th fret into thirds. Other
natural harmonics do occur, but these are the most common.
Notice in the diagram below that the locations of the Harmonics are actually over
the fret and not in the fret. To play the Harmonic, gently touch the string over the fret
without pressing down, then pluck the string. In this book harmonics will be depicted
by a star over the tab note with the word “Harm.” over it.
G D G
D A D
A E A
E B E

Example 1
Harm.

* * *

12 7 5
Harm.
12 7 5

12 7 5
* *7 *5

12
12 7 5
 
12 Harm . Harm. 7Harm. Harm. 5Harm.

12 7 5
 
12 * * 7 * * 5 * * *

Example 2
5 7 5 7 12 7 5
 
5 .
Harm 7
Harm. 5
Harm. 7
Harm. 12
Harm. 7 5
 
* * * * * * *

3 5 7 8 0
5 7 5 7 12 7 5
5 7 5 7 12 7 5
3 5 7 8 0
121

Blues Town
This is a common eighth note shuffle blues rhythm. Make sure to play this over the back-
ing tracks and jam with the band!
D7 G7
3 4 5

3 3 5 5 5 5 5 5 3 4
5 5 3 3 3 3 3
Finger: 3 1 3 1 3 3 3 3 3 3 1 2 3 1 1 1 1 1 1 2
D7
3 4 5
5 5 5 5 5 5 3 4 5 5 5 5 5 5 3 5
3 3 3 3 3
3 3 3 3 3 3 1 2 3 3 3 3 3 3 1 2 3 1 1 1 1 1 1 3
G7 D7
3 4 5 5 5 5 5 5 3 4 5 5 5 5 5 5
3 3 3 3 3 3 3 4
1 1 1 1 1 1 1 2 3 3 3 3 3 3 1 2 3 3 3 3 3 3 1 2
A7 G7 D7
3 4 5 4 5 4
4 4 5 5 2 2 3 3 4 4 5 5 5 5 5
5 5 3
2 2 1 1 2 2 1 2 3 2 1 1 2 2 2 2 2 2 1 2 2 2 1 2
A7
   
5 3 3
3 4 5 5 5
1 2 3 3 1 3 1
122

First & Second Endings
Sometimes the composer wants to repeat a section in a song and add a different
ending. These are called first and second endings. First and second endings are
notated by numbered brackets over each ending. The endings can be any number
of measures in length. In the example below each ending is one measure in length.
Note the repeat sign between the endings. This means that you play through ending
one, go back to the beginning play up to the first ending, skip the first ending and
play the second ending. Play through the example below. In the next lesson you will

use first and second endings within a song.

1. 2.


 0 0 0 0 0 0 0 0 3 3 3 3 5 5 5 5
Complete Bass Progression

Now that you have learned hammer ons, pull offs and alternate plucking lets put these

techniques all together in a complete bass progression.
 
H P P
0 0 0 10 12 0 0 6 5 6 5 8
1 3 2 1 2 1 4

H
0 0 0 10 12 0 6 0 5 3 3 3
1 3 3 3 1 1 1

H P P
0 0 0 10 12 0 0 6 5 6 5 8

1 3 2 1 2 1 4

1. 2.
 3 3 3 6 6 6 5 5 5 8 8 8 3 3 3 6 6 6 5 5 5 1 1 1
1 1 1 2 2 2 1 1 1 4 4 4 1 1 1 4 4 4 3 3 3 1 1 1
123

G Blues Scales W
Scale Professor
The blues scale is a slight variation of the minor pentatonic scale. They contain
one extra note between the 4th and 5th steps of the scale, called a passing tone.
This particular passing tone is the flatted 5th of the scale, also known as the blues
tri-tone. Using the blues tri-tone adds color and character to bass lines.
This note is a chromatic passing tone because it passes from the 4th to the
5th steps of the scale in chromatic half steps. Passing tones are used to
connect from note to note within a phrase and are generally not held for
long durations.
The following G blues scales are the same as the minor pentatonic scales with the addition
of the blues tri-tone. The squares in the scale diagrams indicate where the blues tri-tones
are played. Practice and memorize the G blues scale positions.
G B C D D F G B C D D F G
D F G B C D D F G B C D D
B C D D F G B C D D F G
F G B C D D F G B C D D
3 5 7 9 12 15 17 19 21 24
1st Position B D
C
36345
3 5 6 6 5 3 F G
3 5 5 3
5 4 3 C D D
6 3
B
1 4 1 2 3 1 3 1 3 4 4 3 1 3 1 3 2 1 4 1
G
3 5
2nd Position C D D

5 6 7 7 6 5 G B
5 8 8 5
5 8 8 5
6 8 9 9 8 6 D F
B D
1 3 4 1 4 1 4 1 2 3 3 2 1 4 1 4 1 4 3 1
C
5 7 9
124

3rd Position D F

7 10 10 7 B C D
8 10 11 11 10 9
8 10 10 8 F G
8 9 10 10 9 8
1 2 3 1 3 1 3 4 1 4 4 1 4 3 1 3 1 3 2 1 C D D
7 9
4th Position F G

10 12 12 10 C D D
10 11 12 12 11 10
10 13 13 10 G B
9 10 13 13 10 9
1 1 4 1 4 1 2 3 1 3 3 1 3 2 1 4 1 4 1 1 D D F
9 12
5th Position G B

1215 1512 D F
12 15 1512
B D
131516 1615 13
1315 1513 C
1 3 1 3 4 1 4 1 4 4 1 4 1 4 3 1 3 1
F G
12 15
1st Position (Octave) B D
 15 18
C
15 17 18 18 17 15
15 17 17 15 F G
15 16 17 17 16 15
18 15 C D D
1 4 1 2 3 1 3 1 3 4 4 3 1 3 1 3 2 1 4 1
G B
15 17
125

G Blues Scale Groove
This bass groove comes directly from the 1st position G blues scale. This is a great
example of how to use the blues scales to create bass lines.

G7 C7
  5 3
5 4 3
6 3 6
3 5
3 4 5 3 4 5
3 1 3 2 1 4 1 4 1 3 1 2 3 1 2 3

G7 D7
 
3 6 5 3
5 3 5 5
5 4 3 5 5
6 3 6
3 1 3 2 1 4 1 4 1 3 4 3 1 3 3 3
G Minor Hammer On Groove

In this lesson you will combine the slap, pop and hammer on techniques to create a great
bass groove. Notice the “x” notes on the staff, these are dead or muted notes that have
a percussive non musical sound. You will apply the slap and pop techniques to muted or
deadened notes in this bass line.
H H H H H P H

3 X 3 5 5 3
3 5 X 3 5 X 3 5 3 5 3 5 5
1
3 3
S S P S S P S S S P S P S P S
1 3 1 1 3 1 3 1 3 1 1 3 3 1 3 3 1 3 1
S = Slap P = Pop
126

5 String Pentatonic Minor Scales Key of “A”
1st Position C D D E E
E G A C D E G A C D G A A C
G E G A C D E G A 5
C 7
D
D E G A C D E 5
G 7
A C D D E E G
G 5 7
A
D
G E G A C
5
D
7
E 5
G 7
A 5
C 7
D A C C D
E
A
D 5 8 5 7 5 7
G
B
E
A 5 G
E 8 A
5 C
8 D
5 E
7 G A 5
C 7
D E G G A
D
B
G
E 5 8 5 8 5 7 5 7
A
Finger:
D
B 1
5 4
8 1 4 5
1 7
3 1
5 3
7 1 3 5 7 7 9 9
E
A
Finger: 1 4 5
1 8
4 5
1 7
3 1 3 1 3
B
E
Finger: 5
1 8
4 5
1 8
4 1 3 1 3 1C 3 D
2nd
B Position
G A
5 8
C D E G A C D E D E
G
E
A
G
A
Finger:
G 1
G A4 1
C D4 1
E G3 1
A C3 1
7
D 3
9
E
G A A C C D
D
Finger:
G G
1 A4 C
1 D4 E
1 G3 7
A
1 10
C3 D
1
7 E
3
9 D E E
A
D
G G A C D
7
E
10
G 7
A 10
C 7D
D 9 E
E E G G A
E
A
D 8 10 7 10 7 10
A C C
G
B
E
A 8 10
G A C
8 D
10 E
7 G
10 A C 7A
D 9
E C C D
E
D
G
E
G
D
B
G
E 8 10 8 10 7 10 7E 9 G G A A C
A
Finger:
D
B 2 10
8 4 2 7
1 4 10
4 1
7 4
10 1 3 C D D
E
A
Finger: 2 4 8
2 7
110
4 10
4 1 4 15 3 7 7 9 9 12
B
E
Finger: 8
2 10
4 8
2 110
4 4 1 4 1 3 12 15 3
A C D G E A C D E G
B
3rd 8 10
G Position
Finger: 2 4 2 4 1C 4 1 4 1D 3 C D D E E G
A C D E G A DC D 9
E 12
G E E G
D A C D E G A 10
C 12
D E G G G A A A C
Finger:
G 2 4 2 4 1 4 1 4 1
9 3
12 A C C D
A
D
G A C D E
10
G
G 12
A
A
10
C 12
D 9
E
A
12
G
C
D D E E
C D
EE G
E
A
D 10 12 10 12 E 10 12
G G A
G
B
E 10
A 13
C D 12
10 E 10
GD
A C D 9E
E 12
G G
A A C C
G A
C D
A
D
12 10C 12 C D D E
B
G
E
A
Finger:
10 13
1 13
4
10 12 10
1 3 1
A
12
3 10 1 4
9
1
12
C
4
D
E E G G
D E
G A
D
B
E
10 10 12 G A A
A
Finger: 1 4 1 12 1E
3 10 12
3 1 G 4 1 G4 A
C D
A C
D E
B
E
Finger:10
1 13
4 10
1 12
3 15 3 1 4 17 4 5 7 7 9 9 12
C D E G A C 7D E G A 9 9 12
B
Finger:
10 13
1 4 1 3 1 3 1 4 12 1 4
12 15 3 5
G C D E G A C D E G 14
A
D E E G
D C D
4th
G Position
Finger: C
1 D4 E1 G3 A1 C3 12D1 14E
4 12G1 A4
14 G A A C
A
D
G C D E 15
G A
12 15 G
C 12G
D 14 A
E A 12
G A A A
14 C C C D
E
A
D 12 12 15 D12 14E D E E G
G
B
E
A 13
C 15
D E 15
12 G 12
A C DD E E 12
15 G 14
A E E G G G A
D
B
G
E 13 15 12 15 12 12 14 12
A1 14
A C C D
A
Finger:
D
B 2 15
13 4 1 4 1 15
4 A 12 143 1CC 4 C C D D D E
E 12 15 E G G A
A
Finger:
B
2
13
4
15
1 4 12
1 15
4 EE1 3 1G
G 4 G G A A A C
E
Finger: 2
D E4 12
1 15
4
G A C 1 4 1
D E C G AD3 1 4
C C D D E
B 13 15 7 D9 E 9 12
Finger:
G 2
D E4 1
G 4
A 1
C D4 5E 1 37 A
G 1
2 4
5
C 12 15 3 5
12
D
Finger:
G D
2 E4 G
1 A
4 C
1 D4 E2
1 5
G
3 A115
2 C
4
5
3 5
A
D 3 5
5th
G
E Position
D E G
3 A
5 C D E 2 G 5 GA 2 5A
C A C
A
D
G
3 5 2 5
B
E
A 3 E
D 5 G
3 A
5 C
3 D5 E G DA 2 5E
C E G
D
B
G
E 3 5 3 5 2 5 2 5
A
Finger:
D
B 1
3 3
5 1 3 3
1 5
3 1
2 4 A1
5 4 C C D
E
A
Finger: 1 3 3
1 5
3 3
1 5
3 1 4 1 4
B
E
Finger: 3
1 5
3 3
1 5
3 1 3 1 4 E 1 4 G G A
B 3 5
Finger: 1 3 1 3 1 3 1 4 1C 4 D D E
Finger: 1 3 1 3 1 3 1 4 12 1 4 15 3 5
127

Riding Low
A bass line can often be the main hook of a song. This is a classic example of such a
bass line. This bass line is in G minor and comes from the G minor pentatonic scale. I’ve
also included a version that is played with the slap technique and includes percussive
muted slaps.
H H H H
1
3 3 5 3 5 3 3 5 3 5
1 3 5 5 1 3 5 5
3 1 3
1 3 1 3 3 1 3 1 3 1 3 1 3 1 3 3 1 3 1 3 1 3
Slap Version
H H H H
13X
S S S S S S S S S S S S S S S S S S S S S S S S S S S S
3 3 5 3 5 3 3 5 3 5
1 X 3 X 5 X X 5 1 X 3 X 5 X X 5
1 3 X
1 3 1 3 3 1 3 1 3 1 3 1 3 1 3 3 1 3 1 3 1 3
X = Mute Slap
Dyno-mite
There are staccato rhythm sections that happen twice within this rhythm. The timing is
complicated in this progression so take you time and practice this slowly at first.
E7
 0 2
0 2 4 0
0 0 0 0
 0 0

2 3
Finger: 1 2 1 3 1
A7
   
H
4 5 4
0 0 0 0 0 0 0
   0 3 0 2 3
1 2 1 2 1 2
128

Stormy Tuesday
This progression is a jazz influenced blues progression. Follow the changes above the
staff to understand the changes better. Play this with the accompanying backing tracks
to hear the full band sound.
G7 C7 G7 G#7
3 33 33 33
0 2 3 33 33 33
0 2 3 33 34 44 4
3 3
G7 C7
3
2 3
5 5
5 5 5 0 2 3 33 33 33
3 3
3 3 3
G7 Am7 Bm7 Bbm7 Am7
 3 33 35 55 5 7 77 76 66 6
5 5
5 5
5 5
5
Cm7 G7
 6 6
6 6
6 6
6 0 2 3 3 3
0 2 3 3 3
0 2
3 3 3
Daug

3
4
5
3 3 3
3
129

Shuffle and Swing
This is an E minor walking blues progression. Pay attention to the chord progression on
top of the staff, I’ve included this to help you follow the progression and understand it
more effectively. Play this with the accompanying backing tracks.
E7 4x A7 2x E7 4x
7 5 4
7 5 4 7 7 5 4
7 0 7 0
Finger: 4 2 1 4 4 2 1 4 4 2 1 4
B7 A7 E7 B7
6 7 6 7 8 9 7 8 9 9
6 9 4 5 6 7
7
2 1 4 1 2 1 2 3 4 1 2 3 4 1 2 3
Verse & Chorus

E7 2x A7
4 7 4
7 5 4 7 4 4 7 7 4
7 4 7 5
4 2 1 4 4 1 4 1 2 1 4 1 4 1 4 1
E7 B7 A7
6 7
7 4 7 5 4 6 9 4 5 6
4 7 5 7
4 1 4 1 4 2 1 2 2 1 4 1 2 1 2 3
E7 B7 E7
6 7 8 9 7 8 9 9
7 7 4 7 5 4
4 7 7
4 1 2 3 4 1 2 3 4 1 4 1 4 2 1 4
130
A7
4 5 6 7 4 7
7 4 7 4 7 4 5 6
4 7
7 7 4 7 5 4
4 7 7
4 1 2 3 4 1 2 3 4 1 4 1 4 2 1 4
A7
4 5 6 7 4 7
7 4 7 4 7 4 5 6
4 7
4 1 4 1 4 1 2 3 4 1 4 1 4 1 2 3
E7 B7 A7
6 7 8 9 6 7
7 4 7 6 9 4 5 6
4 7
4 1 4 1 4 1 2 3 4 1 4 1 2 1 2 3
E7 B7 E7 2x

6 7 8 9 7 8 9 9
7 7 7 5 7
4 1 2 3 4 1 2 3 3 1 3
A7
4 5 6 7 4 7
7 4 7 4 5 6 7 4
4 7
4 1 2 3 4 1 4 1 4 1 2 3 4 1 4 1
B7 A7 E7
6 7 8 9 6 7 6 7 8
7 6 9 4 5 6 7
4 1 2 3 4 1 4 1 2 1 2 3 4 1 2 3
B7
9 7 8 9 9
4 1 2 3
131

5 String Modes Key of “C”
1st Position
1st Position C Major Scale

C D E F G A B C D E F G A B
G 7 9 10
D 7 9 10
A 7 8 10
C D E F G E A B C 7D 8E 10F G A B
G B 8 10 7 9 10
D 7 9 10
A 7 28 10
Finger: 4 1 2 4 1 2 4 1 3 4 1 3 4
E C D 7E 8F 10
G AC B DC DE E FF GG A A B B C
B 8 10
G G 7 9 10
CDIonian
Finger: 2 4 1 2 7 9 10
4D 1 2 4 1 3 4 1 3 7 4 9 10 9 7
A A 7 8 10 7 8 10 10 8 7
E CC D D 7
E E8F 10
G E
F A8GB 10CA D BE FC G A B 10 8
B 8 10 B
G 7 9 10
D
Finger: 2 4 1 2 4 1 2 4 1 3 4 1 3 94
7 7 9
9 10
10 7
A 7 8 7D108 10
E F G A B C 10
D 8 7
E C 8 10 D 7 E8 10F
G G A B C 7 10 8
B 8 10 D 7 9 10 10 9 7
G
D A 7 7 8 9 1010 10 8 7
Finger: 2 4 1 2 4E 110 2 4 1 3 4 1 3 94 7
10
A D E 7F 8 10
G
B
A B C D 10 8 7
E
G 8
C 10 D E F G A B C
7 10 8
B
DD
GDorian7 7 9 10 10 9 7
A
D 10 8 10 E F
7
G A
9 10
B
9
C D
7
E 10 8 7
E
A D E 7F G
8 10 A B C D 7 9
10 87 7 10
B
E 8 10 D 7 9 10 10 9
10 87
G A 7 7 8 9 1010 7 10 8 7
B
D 10 9 7
E B C D E
A E F 7 G
8 A
10B 10 8 7
E 10
G D E F G A B 7
C 9
D 7 10
B
D 7 F9 G10 A B 7 C D 10 E F9 7
G 7
A 8 10
D G 7 9 10 107 9 10 7 9 107 8 7
E
A E F
7 G
8 A
10D B C 7 D E
9 10 10 8 10
7 9 7
B
E 10 A 8 10 10 10 8
G E 9 10
7 9 7
BPhrygian
ED 7 10 9 7
F G A BB C D E F
A 7 8 10 10 8 7
G E F G
E A B 7
C 9
D 10
E 9 7
D
B 7 9 10 10 9 7
G 8 10
A 7 9 7 10 8
D F G A
E B7 9 10
C D E F 10 9 7
A 7
B 8 10 10 8 7
G
E 7 9 10 9 7
D
B 7 9 10 10 9 7
A 8 10 10 8
E F G A B C D E F
B
G 7 9 10 9 7
D 7 9 10 10 9 7
A 8 10 10 8
E
132
B

E F G A B C D E
G 7 9 7
D 7 9 10 10 9 7
A 7 8 10 10 8 7
E
FBLydian
F G A B C D E F
G 7 9 10 9 7
D 7 9 10 10 9 7
A 8 10 10 8
E
B
G Mixlydian
G A B C D E F G
G
D
A 7 8 10 8 7
E 7 8 10 10 8 7
B 8 10 10 8
A B C D E F G A
G G A B C D E F G
D
G 7
A
D 7 8 10 10 8 7
E
A 7 8 10 7 8 10 8 7 10 8 7
B
E 10 7 8 10 10 8 7 10
B 8 10 10 8
A Aeolian
B C D E F G A B
G A B C D E F G A
D
G G A B C D E 7
F 9
G 7
A
D
G 7 8 10 7 10 8 7
E
A
D 7 8 10 7 8 10 10 8 7 10 8 7
B
E
A 7 8 10 7 8 10 8 7 10 8 7
B
E 10 7 8 10 10 8 7 10
B 8 10 10 8
B C D E F G A B
G A B C D E F G A
D
G 7 9 7
A
D 7 8 10 7 10 8 7
E
A 7 8 10 7 8 10 10 8 7 10 8 7
B
E 7 8 10 10 8 7
B 10 10
B Locrian
B C D E F G A B
G
D 7 9 7
A 7 8 10 10 8 7
E 7 8 10 10 8 7
B
133

5 String Modes
G 3 Key of “C”
3 D
A 3
2nd
G 3 Position E 3
D 3 B 3
A 3
E 3 2nd Position C Major Scale
B 3
G 3 A B C D E F G A B C D E F G
D 3
A 3 G 9 10 12
E 3 D 9 10 12
B A 3 B C D EA F G A B C D E10 F12 G
G 3 E 10 12 13 9 10 12
D 3 B 10 12 13 9 10 12
A 3 10 12
E 3 10 12 131 3 4 1 3 4 1 3 1 2 4 1 2 4
B 10 A3 12B 13C D E F G A B C D E F G
C D E F G A B C
G 9 10 12
CD Ionian
1 3 4 1 3G 4 1 3 9 1 102 124 1 2 4
A D 10 12 9 10 9
E C D 10 12A 13
E F G A B C 10 12 12 10
B A
G 10 12 13B C D E E F G 10
A B12 C 13
D E F G 13 12 10
G
D B 13 9 9 10912
10 13
D
A 1 3 4 1 3 4 10 1 3 129 1 102 124 1 2 4 12 10
A
E 10 12 13 D 10 E 12 F G A B C D 13 12 10
E
B 13 C D 10 E 12 F13 G A B C 13
B
G 10 12 13 G
D D E D 9 10 9
9 10 12 10 9
A 1 3 4 1 3A
F G4 A 1 3B 10 12 12 10
E 10 10 12 12113 C
2 4 D 1 2 4 12 10 13 12 10
G
E 10 12 B13 13 12 10
D C D E F G 9A B
10 C
12 10 9
DBA
G
13
Dorian 10 12 12 10
13
E
D D E10 12 13 E F G 9 A 10 B 9 C D E 13 12 10
B
A F G A
10 12 B C D 12 10
G 9
G
E 10 12 D13 9 10 12 13 10
12 12 10
9
D 13
B E F G AA B 9 10
C10 D12 E 12 10 9 13
12 10
A E10 12 12 13 12 10 13 12
G
E 10 12 13 BG A9 B10 C12 D
9 13 12 10
D
B D E F 12 10 9
A
G 10 12 12 10
E
D E 12 13 9 10 12 10D 9E 13 12
B
A F G 10 A F 12 BG CA DB E C F
12 10
G 10 12 13 G
E 9 9 10 9 13 12 10
D
B D 9 10 12 9 10 12 12 10 9 12 10 9
EAPhrygian
F G A A12
10 B C10 D12 E F 12 10 12 10
E
G E 12 13 E 13 9 10 9 13 12 13
B
D F G BA 9 B
10 C
12 D E 12 10 9
A
G 10 12 9 12 10
E 13
D 9 10 12 12 10 9 13
B F
A G A
10 BG CA DB EC FD
12 E F G 12 10
E
G 12 13 G 9 10 99 10 12 10 9 13 12
B
D D9 10 129 10 12 12 10 9 12 10 9
A G 10 A 12
B AC10 D12 E F G 12 10 12 10
E 13 13
G
B F G A EB C 9D 10 E 12 F 10 9
D 9 B10 12 12 10 9
G
A 10 12
9 10 9
12 10
D
E
9 10 12 12 10 9
A
B
134 G 10
A 12
B C D E F G 12 10
E 13 A B C D E F G A 13
G
B 9 10 12 10 9
D 9 G 10 12 12 10 9
A 10 12 D 12 10
C AD
E A FILE_EDITED_1+30+12__14pt
B E F G A 10 12 10
G G
B
Bass Course Book 1_MASTER A B E C text.indd D134 E F 10 G 12 13 13 12 10 12/30/15 11:23 PM
D
G B 10 12 9 13 10 12 10 9 13 12 10
E
G C 10 D 12
E 13
F G A B C 13 12 10
B
D 13
E F G A B 9C 10D 12E 10 9 13
G
A
G 10 12 9 12 10
D
E
D 10 12 13 9 10 9
12 10 9
12 10 9 13 12 10
A
B D E F G A
10 B
12 C D 12 10
A
E 10 10 12 12 10
G
E 12 13 12 13 13 12 10
13 12
B
D
B E13 9 10 12 10 9 13
FALydian F G 10A 12B C D E 12 10
E
G 10
D 12E 13F G A B C D9 13 12 10
B
D F G A B 9
C 10
D 12
E F 12 10 9
G
A 10 12 12 10
G
D
E 12 13 9 109 1210 9
10 9 13 12
D
A
B E F G 10A9 12
10
B 12
C D E 12 10
12 9
10
A
E
G 10
10 12 1312 9 12
13 10
12 10
E
B
D 13 9 10 12 12 10 9 13
B
A F G 10
A 12
B C D E F 12 10
E
G 12E
13
F G A B C 9
D 10
E 9 13 12
B
D 9 10 12 12 10 9
G
A G A
10 B
12 C D E F G9 12 10
D
E
G 13 9 10
9D 12
10 12 12
10 10
9 9 13
A
B
D F G 10
A 12
B C E F 12 10
E
G 13 9
12 12 10 12
9 10 9
12 10 9 13 12
GA
B Mixolydian
10 12 10
D
E 9 10 12 12 10 9
A
B G 10
A
12
B C D E F G
12 10
E 13F G A B C
13
G
B 9D E
10 F
12 10 9
G
D 9 10 12 9 10 9 12 10 9
D
A A10 12
B C D9 10
E 12
F G A 12 10 9 12 10
A
E
G G
10
A
12
B C D E F G
12 10
E
B
D 13 13
G
B
A 9 10
10 12
12 10
10 9
D
E 9 10
10 12
12 13 13 12
12 10
10 9
A
B 10
10 12
12 13 13 12
12 10
10
E GA B
A
C
B
D
C
E
D
F
E
G
F
A
G
B
G
G 9 10 12 10 9
AD
D
A Aeolian
B C 9
D 10
E 12
F G 10
A 12
B 10 12 10 9
A
E 10 12 10 12 13 13 12 10 12 10
G
E
B A
10 B
12 C
13 D E F G A 13 12 10
D
B
G 9
A
D 10 12 12 10
E
A 10 12 13 10 12 10 13 12 10
B
E A12
B 13
C D E
10 F
12 G
13 A B 13 12 10 13 12
B C D E F G A
B
G 10 12 13 13 12 10
G
D 9
D
A 10 12 12 10
A
E 10 12 13 10 12 10 13 12 10
E
B B
12 C
13 D 10
E 12
F 13
G A B 13 12 10 13 12
B
G 10 12 13 13 12 10
BD
9
A Locrian 10 12 12 10
E B C
10
D
12
E
13
F G A B
13 12 10
B 12 13 13 12
G
D 9
A 10 12 12 10
E 10 12 13 13 12 10
B 12 13 13 12
135

The Gallop Rhythm
The gallop rhythm is used in many genres of music. To break it down rhythmically it
would be an eighth note followed by two sixteenths. This rhythm creates a bouncy feel
that is reminiscent of a horse galloping; hence the name, “Gallop Rhythm.” Play through
the rhythm first with just the open E string below before you jump into the progression.


Eighth Note Sixteenth
Notes
0 0 0 0 0 0 0 0 0 0 0 0
1 e & ah 2 e & ah 3 e & ah 4 e & ah
 
Now apply this rhythm to the entire progression below:
  2 2 2 2 2 2 2 2 2 2 2 2 5 5 5 5 5 5 5 5 5 5 5 5

Double Thumb Groove

With this technique you use your thumb in the same fashion as you would use a pluck.
Move the thumb in a down up motion to pluck the “x” deadened notes. The D and U be-
low these notes tells you to pluck down or up. The groove incorporates octaves with two
dead plucks with the thumb in-between. Pretend that your thumb has a pick glued to it
and move it as you would with the pick to make sure you use the proper plucking motion.
 
  
7 4 5 6
5 X X 2 X X 3 X X 4 X X
S P S P S P S P
D U D U D U D U
136

Slap Bass Pop Melody
This is a complicated bass line where you play the bass notes and a melody together. I
wrote the chord progression notes above the staff so you can see the bass root notes.
Pay close attention to which notes are slapped with the thumb and which are plucked
with the pop technique. Once you feel comfortable playing this through from beginning
to end play it with the backing track.
Dm
P F H P

10 9 7 9 5 7 5
5 7 X X
5 X X X X 5 7 8 X
S S S P S P S P S S S S P S P S P
1 4 3 1 3 1 3 4 1 3 1 3 1
G Bb
sl.

0 10 10 10 10 10 10
10 12 12 8 X X 8
8 10
P S S S P P P P S S S P S P S
3 3 3 1 1 1 1 3 1 3 3 1

A Dm
 
9 9
7 X X 7
5
S S P S P S S
1 3 3 1 1
On the backing track after the first time through the progression there are variations
added to the bass line. I encourage you to experiment and improvise to make your own
variations.

register.
137

Musical Words
Progression: A series of chords that are played within a song.
Accent: A louder pluck or pick strum.
Dynamics: The variation of sound levels, louder and softer.
Riff: A short melody usually 2 or 4 beats long.
5th Position: The section of the bass spanning the 5th through 8th frets across all six
strings.
Triplet: A group of three notes played in the time of two of the same notes.
Natural Minor Scale: The natural minor scale has the same tones as the major scale,
but uses the sixth tone of the major scale as its tonic. This changes the semitones (half
steps) between the second and third tones and the fifth and sixth tones creating a scale
formula of Whole – Half – Whole – Whole – Half – Whole – Whole.
Sixteenth Note: A note having the time duration of one sixteenth of the time duration of
a whole note.
Syncopation: Deliberate altering of the meter or pulse of a composition by a temporarily

shifting the accent to a weak beat or an off-beat.
Turnaround: A short phrase at the end of a progression that brings the player back to
the beginning of the song in a smooth transition.
Arpeggio: The Notes of a chord played separately.
Octave: An interval spanning seven diatonic degrees (eleven half-steps). An octave

above C would be C.
Root Note: The tonic or fundamental note of a chord. The note which gives a chord or
scale its letter name.
Blues Tri-Tone: The interval of a sharped fourth (augmented fourth, enharmonically

spelled as a diminished fifth). This interval was known as the “devil in music” in the
Medieval era because it is the most dissonant sound in the scale. This note is usually
added to a minor pentatonic scale to give it a bluesy sound.
Melody: A succession of musical tones. It represents the linear or horizontal aspect of

music.
138

Natural Harmonics: Chime like notes that are sounded by lightly touching the string
above a point in the string length which divides the string into equal parts.
Natural Minor Scales

A Bb C D Eb F G A Bb C D Eb F
Eb F
Key Gof “G”A Minor
Bb C D Eb F G A Bb C
Bb C D Eb F G A Bb C D Eb F G
G A Bb C D Eb F G A Bb C D Eb F G
F G D Eb
A Bb
F G C A Bb
D C Eb D Eb
F F G
G A
A
Bb
BbC D C D
3 A Bb5 C 7D Eb 9F G A12Bb C 15
D Eb 17
F G 19 A 21
F G A Bb C D Eb F G A Bb C D Eb
3 5 7 9 12 15 17 19 21 24
First Position Second Position Third Position

C C
DF
A D D
A Bb C Bb C D
Eb
Eb
Eb
Eb F
F G G A Bb A Bb C
F GC D Eb GD Eb A F Bb Eb F AG Bb C
G A Bb A Bb C Bb C D
C D 3 Eb 5
D 5
Eb 7
F 7
Eb 9
F G
3 5 5 7 7 9
D Eb F F G
A Bb C C D Eb
F G G A Bb
Fourth Position
C D Eb D Eb
Fifth Position
F
7 9 12
D Eb F F G
A Bb C C D Eb
F G G A Bb
C D Eb D Eb F
7 9 12
139

A B C D E F# G A B C D E
E
Key Gof “E”A Minor
B C D E G A B C
F# F#
B C D E F# G A B C D E F# G
G A B C D E F# G A B C D E F# G
F# G D
AE F#
BG C A
D
B C D
E E F#F# G
G A
A B C
B D C D
3 A 5 B C 7D E 9 F# G A12 B C 15
D E 17 F# G 19 A 21
E F# G A B C D E F# G A B C D E
3 5 7 9 12 15 17 19 21 24
F# G F#
AG A
AA B
BC C B C
BD C D
D E E F# G F# G A
D EA B C E B C F#D G C D F#E G A
E F# G F# G A G A B
A B12 C 15
B C3 5
D 3
C
5 7
D E
E F# G F# G A G A B
12 15 3 5 3 5 7
B C D D E
F# G A A B C
D E E F# G
Fourth Position
A B C B CFifth Position
D
5 7 7 9
B C D D E
F# G A A B C
D E E F# G
A B C B C D
5 7 7 9
140

A B C D E F G A B C D E F
E F
Key Gof “A”A Minor
B C D E F G A B C
B C D E F G A B C D E F G
G A B C D E F G A B C D E F G
F G D A E F BG C A BD C DE FE F G
G A A B C
B D C D
3 A
5 B C
7D E
9F G A
12 B C D
15 E F
17 G
19 A 21
E F G A B C D E F G A B C D E
3 5 7 9 12 15 17 19 21 24
Third Position
First Position Second Position
B C B
DC D
DD E
EF F E F
EG F G
G A A B C B C D
G AD E F A E F BG C F G BA C D
A B C B C D C D E
D E F E F G F G A
5 7 7 9 9 12
A B C B C D C D E
5 7 E F
7G 9G A
9 12
B C D D E F
G A A B C
Fourth Position
D E F E FFifth Position
G
9 12 12 15
E F G G A
B C D D E F
G A A B C
D E F E F G
9 12 12 15
141

A Bb C D E F G A Bb C D E F
E F
KeyGof “D”A Minor
Bb C D E F G A Bb C
Bb C D E F G A Bb C D E F G
G A Bb C D E F G A Bb C D E F G
F G D A E BbF G C A Bb
D C DE FE F GG A A
Bb
BbC D C D
3 A Bb
5 C
7D E
9F G A Bb
12 C D
15 E F
17 G
19 A 21
E F G A Bb C D E F G A Bb C D E
3 5 7 9 12 15 17 19 21 24

F G A A
E G
AC
Bb Bb
E F G G A Bb Bb C
C D D E F E F G
C DG A Bb D A Bb E C F Bb C ED F G
D E F E F G F G A
9 12 12 15 3 5
D E F E F G F G A
9 12 A Bb
12
C C
15 D
3 5
E F G G A Bb
C D D E F
Fourth Position
G A Bb A Bb
Fifth Position
C
3 5 5 7
A Bb C C D
E F G G A Bb
C D D E F
G A Bb A Bb C
3 5 5 7
142

Blues Scales
A Key Cof “A”D Eb E G A C D Eb E
Eb E G A C D Eb E G A C
C G D A Eb EC D Eb EG GA A C
C D D
Eb E Eb E G G
D
G Eb
AE G
C A
D C
Eb
D
E Eb E G
G A
A C D
C D
A C D Eb E G A C D Eb E G A
3 E 5 G 7A 9C D Eb E12 G 15
A 17
C D 19 E
Eb 21
3 5 7 9 12 15 17 19 21 24

C D Eb D Eb E E G
C D G Eb A D AEb E C C E D Eb G
D Eb E E G G A
G A A C
A C
C
D Eb D Eb E
C D Eb
D Eb E 5 7 E 7 9 G 9 12 G A
A C C D Eb D Eb E
G A A C
5 7 7 9 9 12
D Eb E E G
A C C D Eb
Eb E G G A
Fourth Position Fifth Position
12 15 15 17
G A A C
D Eb E E G
A C C D Eb
Eb E G G A
12 15 15 17
143

A B
Bb
Key of “E”D E G A Bb B D E
E G A Bb B D E G A Bb B
Bb B G DA Bb BE D EG GA Bb
A Bb BB D D E E G G
D
G A E Bb BG A Bb B
D D
E E
GG A Bb
A B
Bb B D
D
A Bb B D E G A Bb B D E G A
3 E 5 G 7A Bb B 9 D E12 G 15
A Bb B 17 D 19 E 21
3 5 7 9 12 15 17 19 21 24

G A Bb A Bb B B D
G A D Bb E A EBb B G G B A Bb D
A Bb B B D D E
D E E G
E G
G
A Bb A Bb B
G A Bb
12 15
A Bb B B 3 5
D 5 7
D E
E G G A Bb A Bb B
12 15 D 3E 5E G 5 7
A Bb B B D
E G G A Bb
Bb B D D E
7 9 9 12
D E E G
A Bb B B D
E G G A Bb
Bb B D D E
7 9 9 12
144

Ab A
Key Cof “D”D F G Ab A C D F
F G Ab A C D F G Ab A C
C G AbDA C F D G F Ab GA Ab A C
C D D F G F G
D F G Ab A C D F G Ab A C D
F G Ab A C D F G Ab A C D
A C D F G Ab A C D F G Ab A
3 F5 G Ab 7A 9C D 12 F G Ab 15
A 17
C D 19 21
3 5 7 9 12 15 17 19 21 24

F G Ab G Ab A A C
F G C Ab D G DAb A F F A G Ab C
G Ab A A C C D
C D D F
D F
F
G Ab G Ab A
F G Ab
G Ab A 12 A 12 15C 3 5 C D
D F F G Ab G Ab A
C D D F
12 12 15 3 5
G Ab A A C
D F F G Ab
Ab A C C D
5 7 7 9
C D D F
G Ab A A C
D F F G Ab
Ab A C C D
5 7 7 9
145

A B
Key of “B”D E F Gb A B D E F
E F Gb A B D E F Gb A B
B DA B E F D Gb E F Gb A A BB D D E F E
Gb F Gb
D E F A B D F
F Gb A Gb
B D E FE Gb
Gb A
A B
B D
D
A B D E F Gb A B D E F Gb A
E F5 Gb 7A B
9 D
12 F
E A B
17 D
19 E 21
3 Gb
15
3 5 7 9 12 15 17 19 21 24

D E F E F Gb Gb A
D E A F B E B F Gb D D Gb E F A
E F Gb Gb A A B
A B B D
F
D E F
B D D E F E Gb
E F Gb 7 9 Gb 9 12A 12 A15 B
B D D E F E F Gb
A B B D
7 9 9 12 12 15
E F Gb Gb A
B D D E F
F Gb A A B
3 5 5 7
A B B D
E F Gb Gb A
B D D E F
F Gb A A B
3 5 5 7
146

About the Author
John McCarthy
Creator of
The Rock House Method
John is the creator of The Rock House Method®, the world’s leading musical instruction
system. Over his 25 plus year career, he has written, produced and/or appeared in more
than 100 instructional products. Millions of people around the world have learned to play
music using John’s easy-to-follow, accelerated programs.
John is a virtuoso musician who has worked with some of the industry’s most legendary en-
tertainers. He has the ability to break down, teach and communicate music in a manner that
motivates and inspires others to achieve their dreams of playing an instrument.
Asamusicianandsongwriter,Johnblendstogetherauniquestyleofrock,metal,funkandbluesina
collage of melodic compositions. Throughout his career, John has recorded and performed
with renowned musicians including Doug Wimbish (Joe Satriani, Living Colour, The Roll-
ing Stones, Madonna, Annie Lennox), Grammy Winner Leo Nocentelli, Rock & Roll Hall
of Fame inductees Bernie Worrell and Jerome “Big Foot” Brailey, Freekbass, Gary Hoey,
Bobby Kimball, David Ellefson (founding member of seven time Grammy nominee Mega-
deth), Will Calhoun (B.B. King, Mick Jagger and Paul Simon), Gus G of Ozzy and many
more.
To get more information about John McCarthy, his music and his instructional prod-
ucts visit RockHouseSchool.com.
147

MEMBER CODE
To download the lesson video and audio backingtracks that correspond with this
book use the member number and register at RockHouseU.com
CODE #
WWT-28P-HPC
148

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Presents

Adapted By: Jimmy Rutkowski

Cover Art Direction & Design:

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Book 2 Starts At Page 73

Words from the Author

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Backing Track Metronome

Worksheets are a great tool to help Tuner

When you register this product at the

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Body Neck Head

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Holding the Bass

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Left Hand Position

Attaching Your Strap

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Names of the Open Strings & Tuning

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Tune your bass using the machine heads on the

Fret To Play Note On First String (Thinnest)

Fourth String (Thickest) Finger To Use

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The Musical Alphabet

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Indicates four beats Indicates three beats

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Foot Down Foot Up

Counting with a Drum Beat

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Rhythm – Playing with the Drums

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Learn Bass 1 - Quiz 1

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“The biggest room is the room for improvement.”

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“Obstacles are those frightful things we see when we take

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Rhythm – Playing Eighth Notes

1 & 2 & 3 & 4 &

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The 1 - 5 - 6 – 4 progression is today’s most popular chord progression being used in

C -1 G-5 A-6 F-4

Songs Using the 1-5-6-4 Progression

A Day At the Beach

G-1 C-4 D-5

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Sharps and Flats

Natural Half Steps

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Learn Bass 1 - Quiz 2

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