Parts of The Bass:

Tuning Pegs
Headstock

Nut

Frets

Neck

Body

Pickups
Volume and
Tone Knobs

Bridge
Strap Peg
Holding Your Bass:

Use a 2 to 3 inch wide strap for comfort for both standing and sitting. Try to adjust
your bass so that the bridge is around waist height. It should be at the same
position when sitting to provide consitency when practicing. Avoid hunching over
or leaning back as you play. Your bass should be supported by the strap alone,
never use your hands. Keep the neck pointed up about 25 to 30 degrees from the
floor to allow easier fretting.
Fingers & Strings:
Notes Of The Fretboard:
Below is a diagram of the first 12 frets of a bass guitar fretboard. The notes repeat
themselves after the first 12 frets. Depending on what key or scale you are in will
determine wether you call notes sharps or flats. This diagram shows all sharps (#),
however, every sharp can also be a flat (b). For example F# is also Gb, G# is also
Ab, A# is also Bb, C# is also Db, D# is also Eb.
Reading Music Notation:
It is helpful to know how to read music, especially if your goal is to play with other
musicians. Understanding the basics will help you along in your musical journey.
You can compare reading music to reading a foreign language. It is relatively easy
to learn how to say some basic words in a foreign country, however, when they
are written down, it takes more time to learn how to read them. This introduction
to reading music notation will be less complicated to understand with the use of
these graphic examples and written explanations. With a little time it will all make
sense.

œ œ œ œ
? 44 Staff: œ œ œ œ œ
The œ œ œ
œ œ œ
The Staff or Stave (Staves when used in the plural) is a grid of five horizontal lines
representing seven notes. The notes are symbols used to indicate pitch, and

? long each note is played. The stems of the notes below the B note, point up
how
w ˙ œ œ œ
and the stems above B, point down. J
Stems on the B note can pointR up or down.
Ledger lines are used when additional notes are to be played that are above or
below the standard staff’s range. When a note goes off the staff, additional lines
? œ œ ˙
œ œ note
are used for that
œ œ œ
œ only. œ œ œ œ œ œ w

Measures Or Bar Lines:

?
Bar lines are drawn across the staff to divide the sections of music called
#œ
measures, œ
or bars. nœ
A double barbœline indicates
œ the end
#œ of the section,
nœ or#œthe end of
an important part of the music.

Ä œ Äœ Ä
œ œ œ
? œ œ œ
œ œ œ œ œ
œ
â
œ

œ
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ó
Clefs:
There are two kinds of basic clefs: the treble clef and the bass clef. Depending on
what instrument you play, you may see only one, or both at the same time. The
treble clef has higher notes, and the bass clef has lower notes.

Here are the names of the notes for both clefs:

The treble clef:

C D E F G A B C D E F
œ
G
œ œ
A
œ
B
œ
C
4 œ œ œ œ œ
&4 œ œ œ œ
œ

A simple phrase to help you remember the notes on the lines of the treble clef are:
Every Good Boy Does Fine.

The notes on the spaces spell the word FACE.

&
Fine
Does
Boy
Good
E
C
A
∑
Every F

The bass clef:

œ œ œ œ
? 44 œ œ œ œ œ
œ œ œ œ
œ œ
Simple phrases you can use to remember the notes on the bass clef are:
Good Boys Deserve Fun Always.
? w ˙ œ œ œ
J R

?
The notes on the lines, and A Cow Eats Grass for the notes on the spaces.

?
œ œ
Always
Fun
œ Boysœ
Deserve
œ œ œ
Grass
Eats
œ œ
Cow œ œ œ œ œ ˙
w
∑
Good A

? #œ œ nœ bœ œ #œ nœ #œ
 4 œ nœ œ
&4 œ œ nœ œ
? w ˙ œ œ œ
Sharps And Flats: J R
n
Flat “ b” or Sharp “4# ” symbols shown on the staff indicate that the note is being
&4 œ œ
raised or lowered a half step. The notes played on the same line, or space within
nœ œ
a? œ ˙
œ œ œ œ aœsharp
series of notes following
œ
œ œor flat, œ œsharp or flat evenwif the sharp
œ œwillœremain
or flat symbol is not used. A natural “ n” symbol is needed to allow the note to revert
to it’s original pitch within the bar.

?
#œ œ nœ bœ œ #œ nœ #œ

Ä Äœ Ä
œ œ œ
?
Time Signatures: œ œ œ œ
œ œ
œ units œ
œ œ into
â
œ is divided
Music called measures. Each measure has a certain number
of beats. The numbers found to the left of the staff is the time signature. The top
number tells you the number of beats per measure. The bottom number tells you
what kind of note is used for each beat.
? œ œ œ œ œ œ œ œ œ œ œ œœ œ
? 44 œ œ œ œœ œœ œ Ó
œ œ œ œ isœ 4/4.œ
A œ
common time signature That means there are 4 quarter notes per
measure. Any combination of notes that equal 4 quarter notes can be used to fill

? w™ ˙™ œ™
up the measure. For example, you can have 4 quarter notes per measure or 8
? w notes, or two quarter
eighth ˙ notes œ
and 1 half note.œYou can even have
œ one whole
J R
note in a 4/4 measure that you play once but let it ring out through 4 quarter notes
worth of time.
? 44 œ œ œ œ ˙ œ œ˙ œ
? œ
œ œ œ œ œ œ œ œ œ œ œ œ w

If? #œmusic is œwritten innœ3/4 time,bœyou will play

the œ 3 quarter
#œ notesnper #œ or any
œ measure
combination that equal 3 quarter notes. If you are playing in 6/8 time you will play
6 eighth notes per measure or any combination equaling 6 eighth notes. There are

Ä œ Äœ Ä
many different time signatures.
œ œ œ
? œ œ œ
œ œ œ œ œ
œ
â
œ
Notes And Their Values:
œ in four
œ beat
Each note is worth a certain number of beats. You œcan œcountœeach
? 44
œ œ œ œ œ œ œ
œ
œ asœ follows: A whole note has four beats so it gets four counts, a half note
four time
gets two counts, a quarter note gets 1 count, an eighth note gets a 1/2 count and
a sixteenth note gets 1/4 of a count.
? w ˙ œ œ œ
J R

? œ œ ˙
œ œ œ œ œ œ œ œ œ w
œ œ œ
Counting:
Every beat in 4/4 time is a quarter note.
You can count a quarter note out loud like this: 1, 2, 3, 4.
? eighth note gets half the time and is counted: 1, and, 2, and, 3, and, 4, and
#œ œ nœ bœ œ #œ nœ #œ
An
(don’t forget to count the “and” after the 4).
A sixteenth note is counted as follows:
1, ee, and, ah, 2, ee, and ah, 3, ee, and, ah, 4, ee, and, ah.
Ä œ Äœ Ä
œ œ œ
? œ œ œ
œ œ œ œ
œ a œmetronome, you can count along to the click. (you can also access
â
If youœ have
our free online metronome at www.iconsofrock.com.) Counting with a metronome
will keep you in perfect time. You can adjust the tempo, or speed of the beat faster
or slower and count along. Every click, or beep is worth 1 beat or count. We will
? counting
œ œ œdetail
œ œ methodsœ in more
œ œ in the next œ œ œ
œ œfew chapters. œ Ó
cover
œ œ

Rests:
? w ™ are
Rests ˙ ™ way as regular notes.œ ™ They are used to create
counted the same
breathing room in the music. Without rests there would be constant sound.
? ∑ Ó Œ ‰ ≈
? 44 œ œ œ œ ˙ œ œ
?
#œ
Ä
œ nœ bœ Ä œ
œ
œ
#œ
œ œ
nœœ œ #œœ Ä
? œ œ œ œ œ œ œ œ œ œ ˙
✠œ œ
BEAMS: œ œ œ œ œ œ œ œ œ w

Ä Ä
Beams group notes of the same value together to make reading music easier. A
Ä œ œ œ
? œ œ
œ beams. œ œ
sixteenth
œ œ œ œ
note beam consists of two horizontal
?â œ œ œ
#œ œ nœ bœ œ #œ nœ #œ
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ó

? Ϫ
Dotted
? w œ Ä
notes:
œ œ œ ˙ ™ œ œ œ œœ
œ œ œ œ Ä œ œ œ œœœ ™ œ
œ œ œ œ œœ œ
Ó Ä
œ œis a œstandard note followed by a dot. The dot lengthens the note by
â
œ note
A dotted
half its value. For example, a quarter note would normally receive 4 beats. If you

? 44wœ™ œ˙ ™ œ™
add a dot it will get 6 beats.
?
œ œ ˙ œ œ
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ó

? 44 œ œ œ œ ˙ œ œ
? w™ ˙™ œ™
Ties:
Ties have a similar effect as dots and are shown by using a curved line. The
curved line links the notes together creating one longer note. The second note is
NEVER played. The tie simply shows that the first note is sustained longer.
? 44 œ œ œ œ ˙ œ œ

Chords:
A chord is a combination of three or more notes that blend harmoniously when
played together. The notes of a chord are placed vertically on the staff to indicate
that all of the notes are to be played at the same time.

œœœ œœœ œœœ œœœ œœ

? 44 œœœ œœœ œ
Reading Tablature:
Tablature, or TAB is a simple method of writing down music played on guitar and
bass. TAB will show you where notes and chords are played, however, it does not
tell you the rhythm or time each note or chord should be played. It is best to use
TAB to practice exercises or when learning how to play songs with which you are
already familiar.

As you learn chords and scales, refer back to this section. When reading tab
books, try to identify arpeggios and scales before you start playing, so you will get
an idea of correct finger placement. See the examples below:

Basic Tab Notation:

€ ÍÍÍÍ
Practicing Tips:
Relaxed Posture:
Save energy by maintaining a relaxed posture and a relaxed left hand. You do not
need to apply any more pressure than is required to produce a nice, clear sound.
You are not accomplishing anything extra if you apply more pressure than needed.
In fact, it can lead to fatigue and even injury.

Avoid Injury:
Keep your wrist as straight as you can, yet relaxed to avoid serious injury such
as Carpal Tunnel Syndrome. Your finger tips will get sore and develop calluses.
This is normal when you are first starting out. If you experience other symptoms
like shooting pains down your arms, then take a break from playing. Listen to your
body and do not over do it.

How to Practice:
It is far more productive to practice 15 to 20 minutes a day than for several hours
a couple of times a week. In a short amount of time, you will gain the strength you
need in your hands to play longer.

Practice Using a Metronome:

Use a metronome every time you practice. You can access our free online
metronome at www.iconsofrock.com. Start out at around 60 or 80 beats per
minute until you can play the exercises clearly. Increase your speed when ready,
but be patient. If you practice playing the correct way, speed will come naturally.
Count each click of the metronome as a quarter note. This will build a rock solid
foundation in timing and will become second nature.

Use Your Resources:

Use this book as a guide and refer back when needed. Also get to know your local
music dealer as they have a lot of great tips and tricks to offer. The online resources
at the Icons of Rock website also have backing tracks to play along with.
Tuning The Bass:
There are several methods of tuning a bass. We are going to show you the
5th fret method. It is highly recomennded to purchase an electronic tuner to
avoid frustration in the beginning. You can also access our free online tuner at
www.iconsofrock.com. If you are using an electronic tuner, be sure to practice the
5th fret method as well to train your ear.

E String Tuning:
Play your open E (open means to play the string without fretting any notes). Adjust
the string higher or lower until it is in tune. If you have nothing to use to tune the
E, choose a tone that sounds good to you and tune the rest of the bass to that. At
least your bass will be in tune to itself which is far better then playing completely
out of tune.

A String:
Play the fifth fret of the E string pressing down just behind the fret line, not on it.
This is an A note. Now play the A string and adjust it higher or lower until it matches
the A note you are playing on the E string.
D String:
Now play the fifth fret of the A string which is a D note. Adjust the open D string
until it matches the D note you are playing on the A string.

G String:
Play the fifth fret of the D string this is a G note. Do you see the fifth fret pattern?
Play your open G string until it matches the G note you played on the D string.

For 5 string bass players:

Play the fifth fret of the B string and then adjust it to match the same tone as the
open E string.

Make sure your bass is in tune after practicing the lessons in this book for a little
while. If you are using new strings it may take a few times of tuning, playing and
tuning again until it stays in tune.
Right Hand Technique:
Your forearm should rest towards the end of the body of the bass. Your fingers
should comfortably be able to reach all of the strings. Avoid resting your thumb on
the pickups. The closer you play the strings to the neck, the lower the tone you will
get. The closer you play to the bridge the higher the tone. For now, position your
hand so that your fingers land between the two pickups. This will give you a great
tone to start with.

Fingerstyle:
Roll your fingers slightly down and all the way across the string to get a full bass
tone when plucking. Use your first and second finger (also known as your index
and middle fingers). Alternate between fingers consistantly and evenly.

Muting Strings:
Muting the strings is a consistent part of playing the bass. You only want certain
strings and notes to produce sound while the other strings remain quiet. To do this,
you want to make sure to position your right hand with your thumb as close to the
E string as possible. You only need to touch the string lightly to save energy.

Follow along with the open string exercises to learn how to pluck and mute each
string. Each open string you play should sound full and clear.

*As you alternate your fingers, place them back down ready for the next stroke.
Open E String Exercise:
Roll your finger on the E string, gently pushing down and across until your finger
touches your thumb. Alternate between your index and middle fingers (i,m).
?
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

€ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

i m i m i m i m i m i m i m i m

Open A String Exercise:

Roll your fingers on the A string until you touch the E string. Alternate between
fingers without letting the E string make a sound.
?
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

€ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Open D String Exercise:

Use your thumb to gently rest on the E string, muting it. Alternate between fingers
on the D string until they touch the A string.
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

€
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Open G String Exercise:

Now drop your thumb down to mute the A string and alternate your fingers across
the G string lightly touching the D string.
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

€
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Using A Pick:
Picking the bass is also a popular technique, especially in rock and metal. The
pick produces a more definite sound on the bass while fingerstyle produces a
warmer tone. No matter what your preference is, you may want to learn both skills
to become a well rounded bass player.

Hold your pick between your thumb and index fingers leaving only about 20% of
the tip of the pick showing. Glide the pick across the strings just enough to create
a clear sound. Do not dip your pick completely below the strings, as this would
slow you down. Save energy by letting your amplifier do the work. There is no
need to pick the strings as hard as you can.

Try the following pick exercises first with all downstrokes (D), then try them using
both up and down strokes (D, U), similar to alternating between fingers. You can
mute the strings using the plam of your picking hand.

? 44 œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ

€
0 0 0 0
0 0 0 0
0 0 0 0
0 0 0 0
D D D D D D D D D D D D D D D D

? œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ

€
0 0 0 0
0 0 0 0
0 0 0 0
0 0 0 0
D U D U D U D U D U D U D U D U
Playing Positions:
When playing notes on the bass, it is a good idea to become familiar with hand
positions. This will make playing bass lines and licks easier by avoiding too much
hand movement. A good saying to keep in mind is “a finger, a fret”.

1st Position:
1st position simply means to start with your first finger on the first fret. Remembering
“a finger, a fret”, you place your second finger on the second fret, third finger on the
third fret and fouth finger on the fourth fret.

2nd Position:
In second position, start with your first finger on the second fret. Your fourth finger
ends up on the fifth fret.

These positons contnue as you move up the fretboard (the third position starts on
the 3rd fret and so on). When you practice the exercises or begin to play along
to your favorite artists’ sheet music books, you will want to try to identify in which
position you should start.
Left Hand Technique:
Position your thumb so that it is in the middle of the neck where you can reach all
of the strings with your fingers. Fret the strings using
your fingertips. The joints of your fingers should
be close to 90 degree angles. Press down on the
fretboard just behind the fret bars. Remember “a
finger, a fret”.

Use your left hand to make sound by pressing down

on the E string on the first fret with your first finger. Follow by fretting the 2nd, 3rd,
and 4th frets. Do not use your right hand to pluck the strings. This is also known as
the hammer-on technique. Make sure you hammer down on the fret hard enough
to create the sound of the note. You should not have to hammer too hard. Try
this with all four fingers on the first four frets one at a time. Continue this exersice
throughout each string.

Remember to use the metronome.

?
œ #œ œ #œ #œ œ #œ œ œ #œ œ bœ #œ œ bœ nœ

€
h h h h h h h h h h h h h h h
1 2 3 4 2 3 4 5 3 4 5 6 4 5 6 7
Fingers: 1st 2nd 3rd 4th 1st 2nd 3rd 4th 1st 2nd 3rd 4th 1st 2nd 3rd 4th

Another exercise you can try is the pull-off. It is very common to follow a hammer-
on with a pull-off. Pull slightly away from yourself; you should really feel the string
dig in to your finger. It needs to be as loud as the note(s) that precede or follow
it. Pull-offs are often used as quick fills that add flavor when transitioning between
licks. Try the hammer-on exercise above, this time add a pull-off to the open string
after each hammer.
Right Left Combo:
Now let’s combine both hands. This section may only take up a few pages in this
book, but may take several days to work through to completion without mistakes.

There are three phases to practice with each of these exercises. Phase 1 uses
all quarter notes counting each click of the metronome 1,2,3,4 1,2,3,4 etc... out
loud. Phase 2 is the same pattern only this time using eighth notes and should
be counted out loud like this: 1 and 2 and 3 and 4 and 1 and 2 and 3 and 4 and.
Do not forget to count the “and” in between the clicks of the metronome, dividing
each beat in two. Phase 3 uses quarter notes with the same pattern only this time
say each note as you play them with the metronome instead of counting. The first
measure is: F, F#, G ,G#. Saying each note out loud as you play them is another
excellent way to learn all of the notes on the fretboard.

Practice all three phases starting on the first fret and working your way up the
fretboard one fret at a time until your first finger is on the 12th fret.

Phase 1 Quarter Notes:

Count each click out loud 1,2,3,4,1,2,3,4 while playing to the clicks. These are
your quarter notes. Remember “a finger, a fret”.

? 44 bœ nœ œ #œ #œ œ bœ nœ
œ #œ bœ nœ œ #œ
œ #œ

€
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4

? œ bœ nœ œ œ #œ œ
œ œ œ #œ œ œ
#œ œ #œ

€
2 3 4 5
2 3 4 5
2 3 4 5
2 3 4 5
Phase 2 Eight Notes:
Divide each click into two parts by counting 1 and 2 and 3 and 4 and 1 and 2 and 3
and 4 and. Practice at the same tempo, only now you have to play twice as many
notes.
? 44 b œ œ nœ œ œ œ #œ œ #œ œ œ œ bœ œ nœ œ
œ œ#œ œ
œ œ#œ œ œ œ #œ œ bœ œ nœ œ

€
1 1 2 2 3 3 4 4
1 1 2 2 3 3 4 4
1 1 2 2 3 3 4 4
1 1 2 2 3 3 4 4

? œ œ bœ œ nœ œ œ œ œ œ œ œ #œ œ œ œ
œ œ œ œ#œ œ œ œ #œ œ œ œ #œ œ œ œ

€
2 2 3 3 4 4 5 5
2 2 3 3 4 4 5 5
2 2 3 3 4 4 5 5
2 2 3 3 4 4 5 5

Phase 3 Naming the Notes:

Play quarter notes again. This time call out each note you are playing.

#œ œ bœ nœ
F F# G G# Bb B C C# Eb E F F# G# A Bb B
? 44 bœ nœ œ #œ bœ nœ œ #œ
œ #œ œ #œ

€
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4

? œ bœ nœ
A Bb B C
œ E F
œ #œ
F# G
œ
B C C# D F# G G# A
œ œ œ #œ œ œ
#œ œ #œ

€
2 3 4 5
2 3 4 5
2 3 4 5
2 3 4 5

After you play these exercises with confidence, try them using 16th notes. 16th
notes are counted like this: 1 ee and ah 2 ee and ah 3 ee and ah 4 ee and ah.
Remember that each number is the quarter note and should be played with each
click of the metronome. With 16th notes you are now playing 4 notes per beat.
Whole Steps and Half Steps:
Each fret on the fretboard is equal to a half step. A whole step moves two frets
on the fretboard. The distance between two pitches is called the interval between
them. In Western music, the small interval from one note to the next closest note
higher or lower is called a half step or semi-tone. If you go up or down two half
steps from one note to another, then those notes are a whole step, or whole tone
apart. The exception to this rule falls between the notes B and C, and E and F.
These notes are natural half steps which means it only takes a half step to move
a whole note or tone.

It takes 12 chromatic, or half steps on the fretboard between octaves. An octave

is the same note value, only higher or lower in pitch. For example, the High E is
one octave higher than the Low E. Also, you can play an open string on the guitar
and then play the same string with your finger pressing the 12th fret to find the
octave.

Use this diagram to help identify the steps, and notes.

Whole Step Half Step Natural Half Step

Keep in mind the natural half steps between B and C, and E and F.
Tony Saunders Ultimate Exercise:
Use the following finger chart to work up the fretboard similar to the right-left combo
exercises. Start out in the first position using a finger a fret and go through each
of the first finger patterns.

The following pages demonstrate the first “1,2,3,4” pattern through the first twelve
frets. Once you complete that pattern start on the “1,2,4,3”, then “1,3,4,2” and
continue through each column one pattern at a time throughout the first twelve
frets.
? bœ nœ œ #œ #œ œ bœ nœ
œ #œ bœ nœ œ #œ
œ #œ

? œ œ bœ œ œ #œ nœ œ œ #œ nœ œ œ #œ nœ #œ

? œ #œ bœ nœ œ #œ
œ #œ œ bœ œ #œ
œ #œ œ bœ

œ #œ nœ œ œ #œ nœ #œ
? œ bœ œ #œ œ bœ œ #œ

œ #œ nœ œ œ #œ nœ #œ
? œ bœ œ #œ œ bœ œ #œ

€
 œ bœ œ #œ œ bœ œ #œ
? #œ nœ œ bœ #œ nœ œ bœ

œ œ bœ nœ œ
? œ œ œ #œ œ œ bœ nœ
œ œ #œ

#œ nœ œ bœ #œ nœ
? œ bœ #œ nœ #œ nœ bœ œ #œ nœ

œ #œ œ œ œ #œ œ
? #œ #œ œ #œ œ œ
œ bœ nœ

#œ nœ #œ nœ bœ œ #œ nœ
? bœ œ #œ nœ œ œ bœ œ

€
 œ bœ nœ #œ œ #œ œ
? bœ nœ #œ œ bœ nœ #œ
œ #œ

€
bœ œ #œ nœ œ œ bœ œ œ œ bœ œ
? œ #œ nœ œ

€
Octaves:
Octaves are fun patterns to play and are very common in bass playing. The octave
note is the same note, but a whole set of notes higher or lower in pitch. For example:
To find the octave of a C note, you must go through the series of notes starting
with (C,D,E,F,G,A,B,C) the second C is the octave. Moving up the fret board, the
octave note has twice as many vibrations per second as the original note. Moving
down the fret board, the octave has half as many vibrations per second.

A great way to find octaves on the bass is by using the “up 2, over 2” formula. What
that means is in order to find the octave note to any note on the E or A strings, you
need to go up two strings and then over two frets as shown. (This formula works
the same way on a 5 string bass starting on the low B string.)
Octave Exercises:

Try the following exercises using the first and third fingers on your left hand. Keep
an eye out for the quarter notes in both patterns. After you get a hang of these,
use the octave diagram to create your own exercises.

E String Octave Exercise:

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A String Octave Exercise:

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Rest Exercise:
Rests are silent spaces counted the same way as regular notes. Rests help add
personality and feel to music. Without breathing room, music would be a constant
wall of sound. Even speed metal bands take advantage of rests. The following
exercise is great to help you read notation and keep time while incorporating
rests.

Quick Review:

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Rests: Whole Rest Half Rest Dotted Half Rest Quarter Rest

Count: 1 2 3 4 1 2 3 4 1 2 3 1 2 3 4

Refer to the reading music notation chapter if you forgot some of the note values.
Notice that this exercise includes quarter notes, half notes, whole notes, dotted
half notes, and several rests. Mute the notes to keep them from ringing during the
rests.
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Slap Technique:
The slap bass technique adds extra attitude and personality to your playing. Strike
or slap the string with the side of your right thumb in a rocking motion. Slap the
bass on the down stroke with your thumb and use the first finger of your right hand
to pluck the upstroke.

Try this technique with octaves at first. Slap the root note and pluck the octave
note.

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Progressions and Bass Lines:
In these exercises we are going to emphasize the chords that would be played by
the guitar or piano by playing the root note of each chord.

Twelve Bar Blues Progression 1:

This exercise works well with any 1,4,5 twelve bar progression. The 12 bar blues
gets its name from the 12 measures that make up the progression before it repeats.
The 1,4,5 stand for the chords used in any given key. For example; in the key of C
Major you have the notes in this order C,D,E,F,G,A,B,C. The one chord is C, the
4 chord is F, and the 5 chord is G.

Let’s start this one in the key of E. The 1 chord is E, the 4 chord is A, and the 5
chord is B. (If the music is written with different versions of chords like E7 or Gsus4
you can still play the root note.

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12 Barre Blues Progression 2:
This is another common variation of chord changes in the 12 barre progression.
This time we will play in the key of A and use the A, D, and E, notes. Notice the E
is played on the 7th fret of the A string.

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Rock Bass Lines:
Lets work on a couple of rock bass lines. This time we will outline the chords that
the guitar or piano would play using more than just the root note.

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Major Scales:
Major scales are made up of seven distinct notes, plus an eighth ( the eighth note
is an octave higher than the root note). To construct any major scale, start with the
root, or key note. Move up a whole step (two frets) for your second note. Move up
another whole step. This is the third note of the scale. Next, move up a half step
(one fret). This will be the fourth note. Move up another whole step, for the fifth
note. Again, move a whole step, for the sixth note, and up again a whole step for
the seventh note. One more half step completes the scale. Each major scale has
this step pattern 2 whole steps 1 half step 3 whole steps and 1 half step (2-1-3-1). 1
-W- 2 -W- 3 -H- 4 -W- 5 -W- 6 -W- 7 -H- 8 In the key of F you will have the following
notes: F, G, A, A#, C, D, E, F, G, A, A#, C.
Minor Scales:
A natural minor scale also has seven distinct notes, as well as an eighth note, the
octave.

To construct minor scales follow this interval pattern:

whole-step, half-step, whole-step, whole-step, half-step, whole-step, whole step.

1 -W- 2 -H- 3 -W- 4 -W- 5 -H- 6 -W- 7 -W- 8 In the key of Fm you will have the
following notes: F, G, Ab, Bb, C, Db, Eb, F, G, Ab, Bb, C.
Major Pentatonic Scale:
Pentatonic scales are the staple of rock and blues guitar. You can also hear them
used in jazz, country, and bluegrass music. Pentatonic Scales are made up of a
series of 5 notes. Penta means five, and tonic means tones.

Step Pattern:
The major pentatonic is built from these intervals of a major scale:
1st (root) - 2nd - 3rd - 5th - 6th notes of a major scale.

In the key of G Major, the notes in the scale are: G A B C D E F# G

To build the G Major pentatonic scale you would play G - A- B - D - E which are the
1st (root) - 2nd - 3rd - 5th - and 6th notes.
Minor Pentatonic Scales:
Relative minor pentatonic scales use the 1st (root), 3rd, 4th, 5th, and 7th notes of
the natural minor scale.

The minor pentatonic is built from these intervals:

1 (root) - b3 - 4 - 5 - 7

In the key of G minor, the G minor scale is: G A Bb C D Eb F G

To build the G minor pentatonic scale you would play G - Bb - C - D - F which are
the 1, b3, 4, 5, and 7 notes.
Blues Scale:
The Blues scale is the same as the minor pentatonic scale with the addition of the
b5. The flat 5 note is also known as the “blue note”. This blue note ads an extra
touch to your playing.