Bass Guitar Beginners Jumpstart - Andy Schneider

BASS GUITAR
BEGINNERS
JUMPSTART
Learn Basic Lines, Rhythms and Play Your First Songs
Andy Schneider
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SEEING MUSIC
METHOD BOOKS
© 2020 ANDY SCHNEIDER
WWW.SEEINGMUSICBOOKS.COM
Introduction
I love learning. I love getting new skills that give me new abilities. And, I love passing on
those skills to others so that they can enjoy their own talents and new abilities. This book
is for the absolute beginner. Welcome.
It’s always a good time to start learning music and the guitar. Students of any age can see
real results from a good practice routine. Many, many adults and children have benefitted
from my teaching method and I hope you’ll soon have new abilities to make your own
music.
In my years teaching guitar and talking with other professional string players, I’ve noticed
that we all have developed an ability to “see” the music we play on the fretboard of the
instrument. We see the music we play as a simple relationship of shapes and relative
positions. Look at these two shapes:
Just as you recognize the shapes above, stringed instrumentalists see music on the
fretboard of their instrument. This is an inherently special gift we who play stringed
instruments have been given. No other kind of instrument makes it so easy for the
musician to have a visual roadmap of the music, making things like improvisation or
transposing a song to another key so easy. Our fingers follow these maps to get to the
music. This book will show you how to see music as simple shapes and use these shapes
to more quickly and proficiently play and create music.
We’ll be covering how music is constructed and ‘looks’ on the neck of the guitar. While
we won’t get into any particular musical style or specific techniques, the information here
is common to all Western music: Rock, Folk, Country, Pop, Classical, Jazz.
While the first steps of guitar playing are the same for everyone, the next few steps of
learning chords can be taught many different ways. I’m going to walk you through what I
believe is the fastest and most powerful way. Learning guitar chords with a visual method
makes it so much easier and minimizes memorization. You will develop life-long skills that
you will use every day you pick up a guitar.
Turn the page: you’re about to “see” music!

SEEING MUSIC
METHOD BOOKS
CONTENTS
SELECTING YOUR FIRST BASS 7
BASS GUITAR CARE AND MAINTENANCE 9
DAY 1 - PROPER PLAYING POSITION 11
LAY A GREAT FOUNDATION 11
A NOTE ABOUT FINGERNAILS 12
FRETBOARD DIAGRAMS 13
HOW TO READ FRETBOARD DIAGRAMS 13
A NOTE ABOUT FRETBOARD DIAGRAMS 15
DAY 2 - PLAYING SINGLE NOTES 17

GOOD FRETTING TECHNIQUE 18
PUTTING IT ALL TOGETHER 19
ABOUT STAFF NOTATION 20
DAY 3 - THE MAJOR SCALE 23

THE AWESOME POWER OF SCALES 23
HOW TO PLAY A MAJOR SCALE 24
MORE ABOUT MAJOR SCALES 24
QUARTER, HALF AND WHOLE NOTES 26
KNOW YOUR FRETBOARD (PART I) 31

THE FIRST 3 FRETS 31
MEMORIZING THESE EASILY 32
DAY 4 - C AND G MAJOR 33
HOW TO PLAY A G MAJOR SCALE 33
ALL ABOUT SHARPS AND FLATS 34
PLAYING PENTATONIC SCALES 35
DAY 5 - A AND E MAJOR 39

A MAJOR PENTATONIC 39
A NEW PENTATONIC PATTERN 40
E MAJOR PENTATONIC 41
MOVING UP AN OCTAVE 41
KNOW YOUR BASS 45

DAY 6 - RIGHT HAND RHYTHMS 47
PLAYING WITH A PICK 47
LITTLE BITS OF RHYTHM 47
HOW TO ADD UPSTROKES 50
PLAYING FINGERSTYLE 52
KNOW YOUR FRETBOARD (PART II) 55

THE 5TH FRET 55
DAY 7 - THE D MAJOR SCALE 59

HOW TO PLAY A D MAJOR SCALE 59
3/4 TIME SIGNATURE 60
DAY 8 - MINOR SCALES 63
HOW TO PLAY C MINOR AND G MINOR 63
HOW TO PLAY A MINOR AND E MINOR 64
HOW TO PLAY MINOR PENTATONICS 65
PUTTING CHORD FLAVORS TOGETHER 66
DAY 9 - PLAY YOUR FIRST SONGS 69

HOW TO PLAY COUNTRY BASS 69
HOW TO WALK A BLUES BASS LINE 70
HOW TO PLAY A ROCK AND ROLL SONG 73
ROCK AND ROLL WITH MINOR CHORDS 75
DAY 10 - CREATING NEW BASS LINES 77

CHORDS AND SCALES GO TOGETHER 77
CHORDS COME FROM SCALES 78
DEVELOP YOUR STRATEGIES 79
MILESTONES IN MUSIC 81
MORE GOOD STUFF TO STUDY 82
CHORD AND NOTE REFERENCE 83

BLANK DIAGRAMS AND STAFF PAPER 86
SELECTING YOUR FIRST BASS
Acoustic or Electric
Most bass guitars are electric and meant to be amplified with an amplifier. There are
such things as acoustic bass guitars but they are usually not great for playing without
an amplifier. Without an amp, the sound isn’t very loud and has a rather thin tone. So
whichever you choose, plan to buy an amplifier. Bass amps are specially designed to
reproduce bass sounds and withstand the rather large output signal that bass guitars
produce. Practice amps have smaller speakers and cost less than professional models
which have larger or more powerful speakers. So, leave a little in your budget for an amp.
There are many inexpensive practice amps that will work just fine.
Size and Playability

This bit is crucial. Guitars come in many sizes, often described by their scale length. Scale
is literally the length of the string, measured from the bridge to the nut (see chapter
Know Your Guitar for details). If you’re a smaller person, you may want to look for shorter
scale bass. Full size is 34” while medium and short scales are 32” and 30”. Generally, 34”
scale is considered to have the best tone, while shorter scales offer easier playability.
Another factor is the playability or action of the neck. Action refers to how easily the
bass plays. For good action, the strings must be fairly close to the frets, but not so
close they create a buzzing sound. If you’re unfamiliar with how good action feels, ask
someone with experience for their opinion of your bass guitar candidate. Since the action
of most basses can be adjusted by a technician, if you already own a one, they may be
able to improve its playability at your local repair shop.
Each time the bass is outfitted with different gauge strings, the action changes and the
guitar will need a little adjustment. This operation is usually refered to as a set-up and
involves adjusting the height of the strings, the bow of the neck (yes, necks are supposed
to be slightly bowed) and sometimes adjusting the string slots in the nut.
Price
This is a big one, obviously. Some people like to be value-minded and find an inexpensive
bass to begin their study. Some people like to make a big investment right away, buying
a beautiful instrument from a well-reputed manufacturer. Perhaps it helps them stay
motivated to learn or they view it as an investment. Either way, there are great basses
Selecting Your First Bass Guitar 7
for beginners at all prices. Generally, more expensive models have better tone and some
high-quality features, such as more adjustability for the owner’s playing style.
Strings
Most electric basses will come with metal, roundwound strings. These are great, all-
purpose strings. Roundwound strings have a solid metal wire core and are wrapped with
a smaller, round wire. If you look at the string closely, you’ll see the bumps of the wound
string. If you run your finger along the string, it feels scalloped, like the edge of a zipper.
There are also flatwound strings which are also called tapewound. These have a smooth,
round tone and are also a little easier on fingers. Additionally, flatwound strings also
come with either a flat metal wrap or a flat nylon wrap which is often black. These nylon
flatwounds have an even softer tone, very much approximating the sound of an upright
bass. There are lots of choices and you’ll have many opportunities to experiment.
Quality of Tuners
This is a bigger issue than you might think. Good quality tuners turn very smoothly and
help keep the bass in tune. Poor ones make it difficult to tune or even cause the bass to
slip out of tune. If you can, try their feel. If you’re buying without being able to try them,
know that the cost of the instrument is generally an indicator of the quality. Not always,
but generally more expensive basses come with more high-quality tuners.
Pickups Inlay
Most every bass guitar comes with one or two
pickups. While you’ll be able to see magnetic pickups Binding
mounted under the strings on the body, acoustic/
electric basses generally use a pickup located inside
the bridge. Again, cost generally indicates the quality.
More pickups means more tonal variety, but shouldn’t
affect your enjoyment of the guitar.
Other Fancy Stuff

There’s lots of things that get added to basses
to either dress them up or add functionality.
Adornments like inlays and binding add visual appeal FIG.1 - INLAY AND BINDING
but not playability. Examples of functional upgrades include electronic tuners (indicating
whether the instrument is in tune), active electronics (those with a pre-amplifier inside
the guitar) or a carrying case. Yes it’s strange, but most basses are sold without a case.
Leave a little money in your budget for one of those, as well. Soft cases are called gig-
bags and often come with backpack-style straps while hard shell cases offer the best
protection.
8 Bass Guitar Beginners Jumpstart: A Seeing Music Method Book
BASS GUITAR CARE AND MAINTENANCE
Storage
Basses are a lot like people: They don’t like things too hot or too cold, too wet or too dry.
Avoid leaving your bass in very hot or cold places, like a car. A great rule of thumb is, if
you would be uncomfortable with the temperature or humidity of a place, don’t leave your
instrument there.
When putting away your bass, a hard-shell case is the safest location. A guitar stand is
also acceptable. Avoid leaning your bass against a wall or furniture. If it slips and falls
over, it could easily be damaged or broken. Also, avoid leaving it near heaters, radiators
or even in bright sunshine.
Cleaning
Keep your bass clean with guitar polish and a
soft rag or polish cloth. Generally, a light spritz of
polish and wiping with the polish cloth is all that’s
necessary. Your instrument’s manufacturer may
have special recommendations to follow.
Replacing Strings
Strings wear out over time and with use. If you see
any discoloration, like rust, or evidence of wear,
like dents where the strings meet the frets, buy
a new set of strings and have them replaced by a
technician. If you’re replacing strings yourself, be
aware that they can spring up and poke your eyes.
Consider wearing safety eyewear. Seriously. Your
eyes deserve protection.
FIG.2 - BASS ON GUITAR STAND
Bass Guitar Care 9

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DAY 1 - PROPER PLAYING POSITION
LAY A GREAT FOUNDATION
Great music begins with correct posture and instrument position. Start from a sitting
position in a chair that allows your upper legs to be parallel to the ground. Hold the
bass close to your body, with the neck pointing slightly upward so your left hand is
approximately level with your right elbow. If the neck sags too low to the floor, you’ll have
to reach farther with your left hand and playing will be difficult and uncomfortable. To aid
this, you may want to raise your right heel so the body of the bass rises up about an inch.
Let your heel rest on your chair leg.
FIG.3 - PROPER INSTRUMENT POSITION FIG.4 - GOOD HAND POSITION

Notice in the pictures how the left thumb
is directly behind the neck and the wrist is
straight. A straight wrist is essential for good
technique, but also the hardest part for many
students to achieve. In the next chapter, we’ll
see why.
Whatever you do, don’t worry about trying to

look cool. Lots of pro rock stars are known for FIG.5 - RAISED HEEL UNDER BASS BODY
wearing their bass really low, or slouching, or
even jumping in the air. While you’re learning the fundamentals, the more time you spend
focused on correct posture and technique, the faster you’ll get where you want to go. In
fact, refer to this chapter often. Remember to always check your alignment and return to
good hand and body position if they slip.
Proper Playing Position 11
The bass is tuned, low to high, E, A, D and
G. If you’re experienced you can tune by String 4 3 2 1
ear, but the easiest way to tune is to buy
Note E A D G
an electronic guitar/bass tuner. Many Nut
are available inexpensively. Alternatively,
there are lots of great tuners available for
phones and tablets. Many of these apps Frets
are free, so if you have a smart device,
check its app store.
The strings of the bass are numbered

from the highest pitch to the lowest. The
highest and lightest string is the first
string and the lowest and heaviest string is FIG.6 - STRING NOTE NAMES
the fourth string.
A NOTE ABOUT FINGERNAILS

Long fingernails and guitar playing don’t really go well together. If you’ve got long nails
on your fretting hand, you’ll find they get in the way of good finger position. They also
tend to dig in the wood of the fretboard. Long nails on the picking hand tend to get
scuffed or interfere with fingerstyle picking. While long nails may look pretty, you may
have to make a tough choice to cut them.
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FRETBOARD DIAGRAMS
HOW TO READ FRETBOARD DIAGRAMS

You’re ready to start learning some notes. The diagrams in this book are kind of like
pictures of what you’ll see when you look at your bass.
Strings
0
Frets
FIG.7 - FRET NOTATION FIG.8 - FRETBOARD
Hold your bass upright in front of you and look at fretboard. The strings run up and
down, the frets run horizontally. That is the view used in fretboard diagrams.
String 4 3 2 1
Note E A D G
The names of the open-strings in order
from lowest pitch to highest are E, A, D
Nut
and G. While it seems logical to conceive
of music from the lowest pitches to the
highest, the numbering of the strings Frets
goes against this concept. The strings of
the bass are numbered from the highest
to the lowest. So, open G is the 1st string
and open E is the 4th string.
FIG.9 - STRING NAMES AND NUMBERS

Fretboard Diagrams 13
Try playing your first note. As indicated in Figure 3, play 0
open E, the 4th string. An open circle indicates an open
string, one that is played without fretting with the left
hand.
With your picking hand, feel free to use a pick or just

your fingers. For now, do whatever is comfortable.
FIG.10 - OPEN 4TH STRING
Did that go well? Try another, this time open A,

the 3rd string.
FIG.11 - OPEN 3RD STRING
Figure 12 tells you to play the note found at the black dot on the 3rd String at the 3rd
fret. It’s the 3rd fret because it’s three frets higher up the neck than the “0” in the upper
left corner of the diagram. The zero indicates that the diagram begins at the nut or
“zeroth” fret.
The “2” next to the black dot indicates you’ll use your 2nd finger of your fretting hand
as in Figure 13.
FIG.12 - FRET NOTATION FIG.13 - LEFT-HAND FINGERING

On these diagrams, a filled-in circle indicates that you’ll put your finger at that fret.
Actually, you’ll put your finger just behind the fret, not right on top of the fret. The fret,
not your finger, is what stops the vibration of the string and changes it’s length.
Keeping your finger pressed with medium pressure, just behind the fret will produce the
clearest and best sound.
Don’t confuse a fretboard diagram with a

4
4
musical staff. Music staves indicate pitch and
rhythm. Fretboard diagrams like Figure 12 are
like a roadmap, showing you where to place
your fingers. FIG.14 - MUSICAL STAFF
A NOTE ABOUT FRETBOARD DIAGRAMS

Most other books place the dot in-between the fret lines. While they’re trying to be
helpful, this just confuses the learning process. When you see a dot in this book, you’ll
know that it is showing you the note to be played and that you’ll place your finger just
behind that fret to hear it.
SOUNDCHECK
Fretboard diagrams indicate where to find a note and what finger to use to play
it.
The number in the upper-left corner of a fretboard diagram indicates on which

fret the diagram begins.
Fretboard diagrams should not be confused with musical staves.
Fretboard Diagrams 15
DAY 2 - PLAYING SINGLE NOTES
MILESTONE
As you pass each milestone, take a moment to recall previous lessons.
Have a seat with your bass in good playing position.
Ready to start making music? Let’s start with some open string notes.
You’ll remember these notes from yesterday’s lesson about the names of the strings.
0 Start by playing open E. Using either your right-

hand fingers or a pick, sound open E on the 6th
string. This is the lowest note on the bass and
maybe the most fun to play!
0
FIG.15 - OPEN 6TH STRING (E)
Now try open A. Feel free to look down at your

right hand so you cleanly sound just the 3rd string.
It’s easy to hit other strings in the process, so keep
focused on just hitting the A string.
FIG.16 - OPEN 5TH STRING (A)
Playing Single Notes 17

GOOD FRETTING
0
TECHNIQUE
You’ve also already played C on the 3rd string. Give
it a try, using your fretting hand 2nd finger.
2
Remember, your fret finger will go just behind the
fret (slightly toward the nut).
FIG.17 - 3RD STRING C
0
On the 4th string, the 3rd fret is G. Use the 2nd
finger of your fretting hand on the 3rd fret, as well.
Now repeat, playing C on the 3rd string, then G on

2
the 4th. Do this a few more times.
FIG.18 - 4TH STRING G
SOUNDCHECK
Now, how do things sound? Are you getting any buzzes? Is the note full and ringing?
Most students need several days of this exercise before the notes sound clean and
pleasant. If you’re having trouble, make certain that your fretting finger is very near the
fret. This is crucial. In fact, you’ll be so close that you’re almost on top of the fret. When
you get the feel of it, it will make everything else easier. Keep trying!
Also, keep your wrist straight, not bent. Remember that tilting the neck up and keeping
the fretboard near your shoulder will make this easier. Playing guitar should never be
uncomfortable, so if your fingers, hands, arms or anywhere else starts to hurt, stop right
away. Sometimes fingertips get sore after a practice session, especially if a player is just
starting out. In time, callouses develop, making playing less uncomfortable.

PUTTING IT ALL TOGETHER
Every note has a beginning and an end, right? While there’s only one way to pick a string,
there are two ways to stop it. Let’s put it all together, starting and stopping each of the
four notes.
Play open A, then open E. Start each note
with your pick or thumb, then stop each Lift up
note by lightly touching the strings with
your left fingers. Try it again, picking the
slightly
note with your right hand, then “catching”
the strings with your left to stop the note.
Similarly, pick C then G. These are fretted

notes, so if you let up the pressure with
your fretting hand, the note will stop
ringing.
Give it a try. Pluck with your right, then

semi-release the pressure with your left
hand just to the point the note stops
ringing.
FIG.19 - LEFT HAND MUTING
Tinker with the speed and pressure change with your fretting hand until the note stops
cleanly.
Ok, now let’s stop these notes a different way. This time, you’ll use your picking hand to
stop the note. This is called palm muting and it’s like putting the brakes on a car.
If you’re using a pick, you’ll use the bottom of your picking hand, the soft bottom edge of
your hand that’s between your pinky and wrist. Pick a note, then use your palm’s edge to
stop it. Is the note stopping cleanly?
Palm Not Palm Lightly

Touching Strings Touching Strings
FIG.20 - PICKING POSITION FIG.21 - PALM MUTING

If you’re using your fingers to pluck the
note, simply pluck the string and then
bring that finger back to rest on the
same string. See how fast you can go
from picking the note to stopping it. See
how slowly you can do the same. Pretty
neat, huh?
FIG.22 - LEFT HAND MUTING E STRING
ABOUT STAFF NOTATION

Music staffs are a great, efficient way to describe
rhythm. Here is a staff indicating Bass Clef and time # of beats
4
signature. Bass Clef means it’s describing lower notes
(not treble notes) and the time signature tells us how
4
to count. Most, but not all, music is in 4, meaning we
count one measure “1, 2, 3, 4.” The top number 4 is that
number. The bottom number means that what we are
counting is quarter notes. Just as with apples or dollars, of this length
a quarter is 1/2 of a half. A half is 1/2 of a whole.
FIG.23 - 4/4 TIME SIGNATURE
So, our staff here indicates we are in the Treble Clef. The
song is in 4/4 time, which means there are 4 beats of
quarter notes in each measure. A measure is indicated
by the vertical lines on the staff.
Figure 24 shows a quarter-note rest. Where

notes (or in this book, hash marks) tell us
when to play, rests tell us when not to play.
Take a little rest!
FIG.24 - QUARTER-NOTE REST

ASSIGNMENT
Today’s Assignment
Let’s practice starting and stopping notes cleanly. The hash marks on the
staff tell you when to play a note, the name of the note is above it. The rests
tell you when to mute the strings for silence.
Rhythm Tip: Slowly
say “One, Two, 4
Three, Four”. Now, 4
say the same thing, One two Three four
but whisper on
FIG.25 - COUNTING QUARTER-NOTES AND RESTS
“Two” and “Four”.
It should sound like “ONE, two, THREE, four”. Now, imitate that with your
bass,“ONE, two, THREE, four”. Keep repeating this exercise, slowly at first.
E E A A
4
4
FIG.26 - E AND A
G G C C
4
4
FIG.27 - G AND C
G C G C
4
4
FIG.28 - G AND C ALTERNATING
C G E A
4
4
FIG.29 - C, G, E AND A

DAY 3 - THE MAJOR SCALE
MILESTONE
At the 3rd fret, play C on the 3rd string and G on the 4th string.
Remember: Your fretting finger should be just behind the fret;

the closer, the better.
THE AWESOME POWER OF SCALES

Scales are awesome because ALL music comes from them! Melodies come from scales.
Chords come from scales and so do bass lines. And scales are easy to memorize, which
will make learning bass lines easy, too.
Take a look at the C Major scale. The notes of the C Major scale in order are C, D, E, F, G,
A, B and C.
CDEFGABC FIG.30 - C MAJOR SCALE NOTE NAMES
All the notes here are separated by a whole-step, except those indicated by the “^”
symbol. Those are separated by a half-step. On the bass, two notes that are one fret
apart are separated by a half-step. Two half-steps equals one whole step, which would be
two frets distance.
Again, most notes here are one whole-step apart, with the exception being those
separated by a half-step.
The Major Scale 23

HOW TO PLAY A MAJOR SCALE
In Figure 31, start on the 3rd string, 3rd fret and place your 2nd finger there. It’s indicated
by the dot with the “X” through it. This is the root, C.
Play the C, then keeping your 2nd finger there, add your 4th finger at the 5th fret on the
same string. Play this note, D.
Now, you can release these notes. On the 2nd string at the 2nd fret, place your first
finger. Play this E.
Next play F, then G, then on to the 1st string, similarly. At the end, you’ll reach the high C.
The finger you should use for each fret is indicated in Figure 31.
0 0
1 1
E A
2 2
C F
3
B
4 4 4
D G C
FIG.31 - C MAJOR SCALE FIG.32 - C MAJOR SCALE

NOTE NAMES
MORE ABOUT MAJOR SCALES

A major scale is a series of whole and half-steps.
A half-step is the distance between two notes that are one fret apart. A whole-step is
equal to two half-steps.
In all major scales, the half-steps are between the 3rd and 4th notes (or degrees) and the
7th and root degrees. All the other notes are a whole step apart, or the equivalent of two
frets in distance from each other.
In the C Major scale, the half-steps are between E and F and between B and C. Take note
of them in Figure 32.

MEMORY SUPERPOWER
To easily remember the fingering of the 0
C Major scale, use this tip:
1 1
On the A-string, you use fingers 2 and 4.
2 2
Next, on the D-string, you use fingers 1, 2
and 4 and on the G-string, you use 1, 3 and 3
4.
4 4 4
When you say it to yourself a few times, it
even starts to sound kind of musical. Say,
“2 4, 1 2 4, 1 3 4.”
FIG.35 - C MAJOR SCALE
ASSIGNMENT
Sure, scales help your fingers get used to finding their way around the
neck, but aren’t they a little boring? No! They will be your superpower, soon
letting you access any bass line, any melody, anytime.
Play C Major starting with the lowest note (C on the 3rd string) and ending
with the highest note (C on the 1st string). Play this a few times until you
can make the string changes easily and smoothly.
If you find it difficult to reach all the notes, stop and examine your wrist. Is
it bent? It shouldn’t be. When your wrist is straight, you’ll have the greatest
reach possible. Make some adjustments to the angle of your guitar, your
wrist, arm and possibly even your guitar height. Review the chapter “Proper
Playing Position”.
After you successfully can play all 8 notes going up the scale, play them in
reverse order, descending down the scale. Start with the top note, C on the
1st string, and work your way down to C on the 3rd string.
0 0
FIG.33 - C MAJOR ASCENDING FIG.34 - C MAJOR DESCENDING

The Major Scale 25
QUARTER, HALF AND WHOLE NOTES
As you know, a measure of 4 beats is common in Western music. These are generally
quarter notes. And just like the coins that may be in your pocket right now, two quarters
are the same as a half and two halfs are the same as a whole.
4 Quarter
Notes = 2 Half
Notes = 1 Whole
Note
4
4
1 2 3 4 1 2 3 4 1 2 3 4
FIG.36 - NOTE LENGTH EQUIVALENTS
Examine the quarter, half and whole notes above. The type of note (quarter, half or
whole) tells the musician how long to hold the note. Measures are composed of these
combinations of note values and those note values always total 4 in any measure of 4/4
time.
Playing Whole Notes
Before playing on your bass, start by just
counting measures of four. Slowly say One Two Three Four
outloud, “One, Two, Three, Four”. With steady
timing, repeat this counting several times. FIG.37 - COUNTING TO FOUR
The time in-between “Four” and the next
measure’s “One” should be the same as the
time in-between any other two counts.
C C C C
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.38 - MEASURES OF WHOLE NOTES
Now, play a whole note C on the downbeat (the “One” count) of each measure. Each time
you say “One”, play the note C and let it ring while continuing to count to “Four”. Repeat
several times.
Whole notes last for four counts. Does this match what you’re playing?

Here’s where things get exciting! This time, instead of repeating the same note, each time
you say “One”, advance to the next note in the C Major scale. Start with C for a four-
count, then D for a four-count, then E and so on until you reach the high C at the end of
the scale.
0 0 0 0
2 2
C D E F
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
0 0 0 0
4 4
G A B C
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.39 - CLIMBING WHOLE NOTES
A Note About These Music Staffs

Ordinarily, musical staffs are used to indicate which note is to be played as well as its
duration. This is not the case in this book.
The staff indications here are just for rhythm and each note is simply indicating when
to play a note, not which note to play. If you’re experienced at reading music from staff
paper, don’t be confused! All the notes are a kind of hash mark, drawn on the middle line
of the staff. They are not intended to tell you which note to play.
The Major Scale 27
Playing Half Notes
Just as before, start by just counting measures
of four. Slowly say outloud, “One, Two, Three, One two Three four
Four” but this time, put a little emphasis on FIG.40 - COUNTING WITH EMPHASIS ON “ONE”
“One” and “Three”. It should sound like “ONE, AND “THREE”
two, THREE, four”.
Now, play a half note C on the downbeat (the “One” count) of each measure and hold it
through the “Two” count. Again, play C on “Three” and hold through “Four. It will sound
like every time you say “One” or “Three”, you’ll pick the note C. Repeat several times.
C C C C
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.41 - MEASURES OF HALF NOTES
Half notes last for two counts. Does this match what you’re playing?
Prepare for more excitement! This time, instead of repeating the same note, advance to
the next note in the C Major scale with each half note. You’ll start with C (“One, Two” and
then D (“Three, Four”) and then E (“One, Two”) and then F (“Three, Four”) and so on
until you reach the high C at the end of the scale.
0 0 0 0
1 1
2 2
4 4 4
C D E F G A B C
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.42 - MEASURES OF CLIMBING HALF NOTES

Playing Quarter Notes
Now, play quarter note C on each beat of the measure. With every count, “One, Two,
Three, Four”, play C. It will sound like every time you count from one to four, you’ll have
played four C notes. Repeat several times.
C C C C
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.43 - MEASURES OF QUARTER NOTES
Quarter notes last for only one count each. Does this match what you’re playing?
This time, instead of repeating the same note, advance to the next note in the C Major
scale with each quarter note. You’ll start with C on “One”, then D on “Two” and then E
on “Three” and so on until you reach the high C at the end of the scale. Then, start at the
high-C and descend back down: C, B, A, G, F, E, D, C.
0 0 0 0
1 1 1 1
2 2 2 2
3 3
4 4 4 4 4 4
C D E F G A B C C B A G F E D C
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.44 - MEASURES OF CLIMBING QUARTER NOTES
If any of these exercises are difficult, repeat perhaps a little more slowly until you can
make it all the way to the end of the scale smoothly.
The Major Scale 29

BASS GUITAR
BEGINNERS
JUMPSTART

KNOW YOUR FRETBOARD (PART I)
One of the most important steps to playing bass is learning the names of the
notes on the fretboard. If you know every note, everything else will be much
easier to learn and play. And while the fretboard seems like a huge mess to be
memorized, there are some super-easy shortcuts that will make learning much
more fun.
THE FIRST 3 FRETS

Let’s consider just the natural notes, those without sharps or flats. Start by playing all of
the notes here, one at a time, starting at the bottom.
0 E A D G Begin with the open 4th string, noted in the upper left
1 corner of the diagram. Say the note’s name, E, as you
F
2 2 2 play the note.
B E A
3 3 3 Next, put your 1st finger at 1st fret of that string, F, and
G C F
say its name. Then use your 3rd finger to play the 3rd
fret, again saying its name, G.
Next, move to the open A string. Keep going, playing B

FIG.45 - FIRST 3 FRET and C, then moving to the 2nd string. Keep ascending
NOTE NAMES that way, moving up the fretboard and across the strings
until you get all the way to the high-A at the far right of
the figure.
The pitch you hear should get progressively higher with each note.
Note: These notes don’t always have to be played with the fingering given here. This is
just a good way to begin playing through all the notes.
Know Your Fretboard - Part One 31

MEMORIZING THESE EASILY
Memorizing things can be frustrating. Here’s an easy Similar Fingerings
way to remember the locations of the notes in Figure 45.
There really are only three fingerings to remember here. E A D G

Notice that two strings share similar fingerings. 0
1
First, notice how the 3rd and 2nd strings — A and D —
2 2 2
use the same pattern: open string, 2nd fret and 3rd fret.
3 3 3
Second, notice how the 4th string uses a slightly
different pattern of open string, 1st fret and 3rd fret?
The 1st string, G, is easy to remember because there’s

only one fretted note to remember, 2nd fret.
FIG.46 - FIRST 3 FRET FINGERINGS
SEEING MUSIC
Do you see how the notes of the A and D strings can be played with similar
fingerings?
Do you see how the fingering of the E string is almost, but not exactly the same
as the 2nd and 3rd strings?
ASSIGNMENT
Play all the natural notes from the exercise above in ascending order, saying
the note names as you go.
Once you get those memorized, challenge yourself by playing them in

descending order.

DAY 4 - C AND G MAJOR
MILESTONE
Play the C Major scale from earlier.
Scales types (like the major scale) are defined by their combination of
whole and half-steps and the note they start on (the root).
Let’s start a major scale on a different note, G.
HOW TO PLAY A G MAJOR SCALE

Below are the scales for C Major and G Major. Notice how they look very similar?
That’s because they both use the same combination of whole and half-steps. That’s not
surprising because ALL major scales use the same combination of whole and half-steps.
0
0
1 1
1 1
2 2
2 2
3
3
4 4 4
4 4 4
FIG.47 - C MAJOR SCALE FIG.48 - G MAJOR SCALE
C and G Major 33
Just as you did with C Major, start with your 2nd finger. This time place it on the 4th string
at the 3rd fret. Follow the diagram, playing the ascending scale.
0 0
1 1
2 2
4 4 4
FIG.49 - G MAJOR SCALE FIG.50 - G MAJOR SCALE
Here are the note names of the scale you just played.
#
GABCDEF G FIG.51 - G MAJOR NOTE NAMES
See how the half-steps are between the 3rd and 4th, 7th and root degrees of the scale?
This is just the same in the C Major scale and every other major scale.
See the symbol by F, the 7th degree? That is a sharp symbol. That means that it is one
half-step higher than F natural.
ALL ABOUT SHARPS AND FLATS

When a note is raised a half-step, we say it 0
is sharp. When a note is lowered a half-step,
we say it is flat. When it is neither, we say it is
natural.
C
Here are three notes, C, C# and D. Because C
sharp is also one half-step below D, we could C#
also call it by another name: D flat. D flat and
D
C sharp are the same note.
FIG.52 - C, C# AND D
0
Similarly, here are F, F# and G. We could call the
middle note either F sharp or G flat.
It’s OK to describe a note by its natural name, such F#

as F natural and G natural. However, for the sake of
G
convenience, musicians generally just say “F” and “G”.
FIG.53 - F, F# AND D
PLAYING PENTATONIC SCALES

There are many types of scales in the musical universe. You’ve already seen one type of
scale: the major scale. Another type is called the pentatonic scale. It’s called pentatonic
because it is made of 5 notes. Just as the name implies, it has 5 tones.
CDEFGABC
Major
Full Scale
Select
These
Degrees
1234567 1
CDE GA C
Major
Pentatonic
FIG.54 - MAJOR SCALE BECOMING PENTATONIC SCALE
In the figure above you can see that certain notes from the C Major scale were selected
to create the C Major Pentatonic scale. Major pentatonics always include the root, 2nd,
3rd, 5th and 6th degrees. It’s a very clever subset of the major scale that sounds great
played on the bass, as you’re about to hear.
C and G Major 35
Follow the diagram on the right, starting with the scale
0
root, C. Use the fingering in the diagram, starting with
your 2nd finger.
1 1
How did it go? Believe it or not, you just played your first E A
2
bass part. Give yourself a big ol’ 5-fingered pat on the C
back!
The major pentatonic scale gets used very frequently 4 4 4

D G C
by bass players in all forms of popular music. It’s worth
getting to know.
FIG.55 - C MAJOR PENTATONIC
#
Major
Full Scale GABCDEF G
Select
These
Degrees
1234567 1
Major
Pentatonic GAB DE G
FIG.56 - MAJOR SCALE BECOMING PENTATONIC SCALE
Now have a look at the G Major Pentatonic which, as you 0

already know, is a subset of the G Major scale.
1 1
Play this scale starting from the 4th string, 3rd fret with B E
your 2nd finger. Play the G Major Pentatonic, then the C 2
G
Major Pentatonic and back to the G Major Pentatonic.
Repeat this a few times.
4 4 4
Can you hear a similarity between the scales? Do you see A D G
how these two scales share a similar shape? This is what
is meant by “Seeing Music”! FIG.57 - G MAJOR PENTATONIC

SEEING MUSIC
Look for the similarity between the G and C Major scales in Figures 47 and 48.
Now notice the similarity between the G and C Major Pentatonics in Figures 55
and 57. This visual similarity is reflected in their sound similarity. Using the visual
look of a scale makes it easier to remember and even move to a different place
on the bass neck to become a new, but similar scale.
ASSIGNMENT
Here are a couple chord progressions using G and C Pentatonic scales.
In these charts, play the notes in the fretboard diagram in the order they
are indicated, one note for each hash mark. Notice how some patterns are
ascending, others are descending.
The chord symbol is above each measure. You’ll be playing notes from
that pentatonic scale. Take notice of it because sometimes it changes, so
you’ll have to change the scale you’re using, too.
0 0 0 0
1 1 1 1 1 1
2 2
4 4 4 4 4 4 4 4
C C C C
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.58 - C MAJOR PENTATONIC BASS LINE
C and G Major 37
ASSIGNMENT
0 0 0 0
1 1 1 1 1 1
2 2
4 4 4 4 4 4 4 4
G G G G
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.59 - G MAJOR PENTATONIC BASS LINE
0 0 0 0
1 1 1 1 1 1
2 2
4 4 4 4 4 4 4 4
G G C C
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.60 - G AND C MAJOR PENTATONIC BASS LINE

DAY 5 - A AND E MAJOR
MILESTONE
Play the C Major and G Major Pentatonic scales from yesterday. Remember how
they use the same pattern, or shape?
Here you saw that a scale pattern can be moved back and forth across
the fretboard to create a new scale. Now you’ll see that they also can be
moved up and down to create new scales.
A MAJOR PENTATONIC
Examine the G Major Pentatonic on the left. On the right is an A Major Pentatonic. It’s in
the key of A Major because it starts on A.
Play the G Major Pentatonic which starts on the 3rd fret, then play the A Major
Pentatonic starting on the 5th fret. Notice how the number in the upper left of the
diagram has changed from 0 to 4. Remember that this number indicates the fret on which
the diagrams start.
Since the first note of the A Major Pentatonic is one fret higher than 4, it must be on the
5th fret. 1 1
0 4 C # F#
2
A
1 1
B E
2 4 4 4
G B E A
4 4 4
A D G
FIG.61 - G MAJOR PENTATONIC FIG.62 - A MAJOR PENTATONIC
Notice both scales use the same finger pattern and have the same shape. Their only
difference is that they begin on different notes.
A and E Major 39
Now you know three Major Pentatonic scales: C, G and A. They all use the same shape.
Now have a look at the A Major Pentatonic played using a different fingering.
A NEW PENTATONIC PATTERN

One of the great things about the bass guitar is that many notes can be played on
different strings, at different places on the fretboard.
You just played the A Major Pentatonic starting on the 4th string at the 5th fret. The first
note was A. But wait! Your open 3rd string is also A. They must be the same note. Play
this A, both on the 4th and the 3rd string as indicated in the figures.
0 0
FIG.63 - 4TH STRING 5TH FRET A FIG.64 - OPEN 3RD STRING A
They are the same note!
0 A
At right is a new pattern for the A Major Pentatonic.
Right away, you’ll notice that it starts on the open 3rd 1 1 1
B E A
string.
4 4
Play it with the fingering indicated, then play the same C# F#
scale from Figure 62 to confirm they sound the same.
FIG.65 - A MAJOR PENTATONIC
That’s pretty cool, right? When making music, it’s good to have options of several ways to
play a song.

E MAJOR PENTATONIC
Just as you saw how to move the C Major scale to G Major by moving it across the
fingerboard, now you’ll move the A Major Pentatonic to E Major Pentatonic.
Play the E Major Pentatonic and notice how it uses the same fingering pattern you just
used for A Major.
0 E
1 1 1
#
F B E
4 4
G C#
FIG.66 - E MAJOR PENTATONIC
Super! You’re getting very flexible, moving scales around the fretboard. Here’s another
bit of fun: Play E Major Pentatonic an octave higher.
MOVING UP AN OCTAVE
An octave of any note has the same name, but sounds higher in pitch. The two notes
together sound so much alike, they’re called octaves of each other.
1 1
6 G# C#
Remembering the pattern you learned for C, G and 2
A Major Pentatonic, play the pattern at right. It is an E E
Major Pentatonic scale, one octave higher than the one
in Figure 66. 4 4 4
F# B E
Now play the lower E Major Pentatonic from Figure

66. Hear how they sound the same, but in different
octaves?
FIG.67 - E MAJOR PENTATONIC
A and E Major 41
SOUNDCHECK
You’ve already seen quarter-, half- and whole-notes. Here is a combination rhythm that
uses both quarter-notes and half-notes. You’ll remember a half-note takes the same
amount of time as 2 quarter-notes. Out loud, count, “One, Two, Three, Four”. Each word
is a quarter-note. A half-note would be held for a two-count, like “One, Two” or “Three,
Four”.
Play these with the Pentatonic scales from Figures 65 and 66.
0 0 0 0
1 1 1 1 1 1
4 4 4 4
E E E E
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.68 - E MAJOR PENTATONIC MIXED RHYTHM
0 0 0 0
1 1 1 1 1 1
4 4 4 4
A A A A
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.69 - A MAJOR PENTATONIC MIXED RHYTHM
You know, this is starting to sound a lot like music! Congratulate yourself, musician!
ASSIGNMENT Today’s Assignment

Try these bass lines using E and A Major Pentatonic Scales. Notice how
in the first exercise, the A Pentatonic starts on the open 3rd string. In the
second exercise, it uses a different pattern - one that starts on the 4th
string at the 5th fret.
Take time to get these walking bass parts sounding very smooth and even.
For now, don’t worry about high speed. Slow and steady is the goal here.
0 0 0 0
1 1 1 1 1 1 1 1
4 4 4 4 4 4
A A E E
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.70 - A AND E MAJOR PENTATONIC BASS LINE
1 1 1
0 0 4 4
2
1 1 1 1
4 4 4 4
4 4 4
E E A A
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.71 - A AND E MAJOR PENTATONIC BASS LINE
A and E Major 43
KNOW YOUR BASS
Electric Bass Guitar Tuners
Frets
Fretmarker Dot Headstock
Strap Button Nut
Neck
Pickguard Fretboard
Pickup
Cutaway
Bridge
Body
Volume and
Tone Controls
Output Jack
FIG.72 - ELECTRIC BASS GUITAR
Know Your Bass Guitar 45

DAY 6 - RIGHT HAND RHYTHMS
Music is made of three elements: melody, harmony and rhythm. Melody is the singable
part, generally a single note line. Harmony is all the other notes going on simultaneously
that support the melody and develop the chords. Both melodies and harmonies have
rhythm, and good rhythm helps keep things interesting.
Bass players use a variety of techniques to create rhythm. Among them are playing with
a pick and fingerstyle “walking”. Which one you choose will probably depend on your
musical tastes and the style you will be playing. Neither is superior, but they both have
lots of different uses and are worth knowing. You’ll probably prefer one over the other,
but spend a little time experimenting with both techniques.
PLAYING WITH A PICK

Pick playing is favored among many rock bassists. Picking produces notes which are
strong and clean and stand up well when mixed with loud guitars.
Start by selecting a heavy pick. Picks aren’t designated as being for guitar or bass, but
lighter picks probably won’t work well on heavy bass guitar strings.
LITTLE BITS OF RHYTHM

To prepare for a good rhythm workout, have a look at a new
note value: the eighth note.
FIG.73 - EIGHTH-NOTE
As you might expect, there are 8 eighth notes in a measure of 4/4 time. This is one way
you could write 8 eighth notes.
4
4
1+ 2+ 3 + 4 +
FIG.74 - EIGHTH-NOTES
Right Hand Rhythms 47

However, when there are a bunch of eighth
4
notes used together in a measure, it is much
more common to see them grouped in twos
like this.
4
Two eighth notes equal one quarter note. The 1+ 2+ 3 + 4 +
rhythm is counted, “One-and-Two-and-Three- FIG.75 - EIGHTH-NOTES
and-Four-and”.
WHAT GOES DOWN MUST COME UP

Picking is made of two parts: the downstroke and the upstroke. Every downstroke must
have an upstroke. Otherwise, your picking hand would go down toward the floor and
never return, right? The upstroke brings your hand back to its starting position.
Down, up, down, up. That’s what we’ll work on now, because that motion is the basis for
all good rhythm.
Work on this motion silently, at first. Following the down and upstroke symbols, move
your picking hand over one string without actually touching it. This is just to get a feel for
the motion. Your right hand should be somewhere over the strings and about mid-way
between the bridge and the neck. Depending on your bass, you’ll probably be right over a
pickup.
FIG.76 - DOWNSTROKE FIG.77 - UPSTROKE
The rhythmic motion you’re

4
playing are eighth-notes.
4
1+ 2+ 3 + 4 +
FIG.78 - EIGHTH-NOTES

Now, place your left hand to fret G, 4th string, 3rd fret. Try the same eighth-note strum,
pick contacting the string lightly. Down, then up and repeat.
The right amount of contact with the string is very important. Too little contact, you won’t
make much sound. Too much and the note will sound like a barnyard animal, “BLAAT!”
Way too much contact and you might actually break the string. Aim for medium intensity
and a full, round sound. G G
0
4
2
4
1+ 2 + 3 + 4 + 1+ 2+ 3 + 4 +
FIG.79 - PICKING ON 4TH STRING
Now, move your fretting hand to C, 3rd string, 3rd fret. Try the same eighth-note strum.
Down, then up and repeat.
Your movement shouldn’t be any larger than necessary. If your hand swings wildly, you’ll
have trouble finding speed and accuracy. See how little movement you can give it to still
do the job.
0 C C
2 4
4
1+ 2 + 3 + 4 + 1+ 2+ 3 + 4 +
FIG.80 - PICKING ON 3RD STRING
Try the 2nd string, this time moving your fret hand over to F, 2nd string, 3rd fret. Try the
downstroke/upstroke strum. Picking on this higher and lighter string feels quite different
from picking on the heavy low E string, doesn’t it?
0
F F
2
4
4
1+ 2 + 3 + 4 + 1+ 2+ 3 + 4 +
FIG.81 - PICKING ON 2ND STRING

Lastly, move your fretting hand to B flat, 1st string, 3rd fret. Feel how different this is on
this thinner string?
0
B B
2
4
4
1+ 2 + 3 + 4 + 1+ 2+ 3 + 4 +
FIG.82 - PICKING ON 1ST STRING
This is the tricky bit about picking on the bass guitar. Different strings require different
amounts of picking force and as such, a little different right hand touch. Different notes
feel different and a good amount of practice is required to play with consistent volume
and tone when switching from string to string.
HOW TO ADD UPSTROKES

Here’s a basic downstroke pattern. The symbol between notes that
kind of looks like the number 7 is an eighth rest. A rest is just a silent
note. So, an eighth rest is the length of an eighth note, but silent.
4
4 FIG.84 - EIGHTH-NOTE
1+ 2+ 3 + 4 +
FIG.83 - DOWNSTROKES WITH RESTSTROKES
If you’ve been picking the exercises in previous chapters, you may have been only using
this pattern until now. Try it again, this time taking note of how often your hand silently
makes the upstroke. A silent stroke is called a reststroke.
Instead of just four strokes, you were really making eight: four downward and against the
strings and four silent upstrokes!
This is a combination of silent and sounded

upstrokes. Your picking hand will continue
4
4
the down, up, down, up steady movement.
Just as before, sometimes you’ll use silent
upstrokes (reststrokes) and sometimes 1+ 2+ 3 + 4 +
you’ll strum the string on the upstrokes. FIG.85 - COMBINATION OF NOTES AND RESTS

Play any string you like, fretted or open. In fact, try the rhythm with several different
notes on several strings.
4
Here’s the same strumming pattern, but with
quarter notes on beats 2 and 4. It will sound
much the same as the previous exercise. 4
1+ 2+ 3 + 4 +
FIG.86 - COMBINATION OF NOTES AND RESTS
Here is a neat pattern that has some variety.
4
If you get stuck on any of these rhythms,
count them outloud before playing on
your bass. The example at right would be
counted, “One, Two, Three-and, Four-and”.
4
1+ 2+ 3 + 4 +
FIG.87 - COMBINATION OF NOTES AND RESTS
Sneaky Pro Tip

If you find playing with the point of the pick difficult or it
produces notes with tone that is too bright, try turning
the pick and play with it’s shoulder. The larger and more
round corner changes the way picking feels as well as
providing a more round tone.
FIG.88 - PLAYING WITH PICK POINT FIG.89 - PLAYING WITH PICK SHOULDER

PLAYING FINGERSTYLE
While using just one finger to pluck every note does work, it’s easier to develop speed
with two fingers. Alternating between two fingers is a great way to play really fast notes.
To understand the motion you’ll be using,
extend your left hand pointer finger and middle
finger. Now stand your hand up, with those
fingers pointing down. If you have a nearby
table, make your fingers “walk” across the
table, like a miniature person. Your fingers
are “walking” like little legs and it’s this same
alternating motion you’ll use on the bass
strings.
FIG.90 - “WALKING” FINGERS
Start by anchoring your left hand thumb against your pickup. Extend your index (pointer)
and middle fingers and one at a time, pluck the open low E string with one finger, then
the other. Repeat this walking motion. The instant one finger plucks the string, the other
should extend, ready to take its turn plucking. Keep going, aiming for smooth, steady
notes.
FIG.91 - INDEX STRIKING 3RD STRING, MIDDLE FIG.92 - MIDDLE STRIKING 3RD STRING, INDEX
MUTING 4TH STRING MUTING 4TH STRING
Notice how with this motion, each finger plucks the low E string, then comes to rest
against your thumb. When playing on other strings, you’re going to put this moment of
rest to good use.
Now try the walking motion on the open A string. This time as your fingers pluck the
string, let them come to rest on the E string. They will mute the E string and keep it from
accidentally ringing.

Keep walking on the A string, fingers alternating. Are the notes from one finger louder
than those from the other? If so, make a little adjustment so each finger catches the same
amount of string as the other and you’ll hear the volume even out. The sound from each
finger’s pluck should be about the same.
Move on to the open D string. Take it for a walk!
Lastly, give a try on the open G string. Remember that your fingers should come to rest
on the next lower string (in this case, the D string).
So, what’s your

favorite style?
Fingerstyle or
picking? Can
you do both?
Hear this book!

Download your free
audio examples

ASSIGNMENT
TODAY’S ASSIGNMENT
You’ve been playing combination rhythms using quarter- and eighth-notes.
These combinations make music fantastic and much more interesting.
Whether you’re using a pick or fingers, start the following chord

progressions slowly at first. The goal is very steady rhythm and smooth
transitions between chords. Play the root of each chord indicated. For a G
Major chord, you’ll play G. For C Major, you’ll play C, and so on.
If you’re picking, follow the up and downstroke symbols. If you’re flaying

fingerstyle, alternate fingers with every note.
G C G C
4
4
1 2+ 3 4+ 1 2+ 3 4+ 1 2+ 3 4+ 1 2+ 3 4+
FIG.93 - RHYTHM 1
E A B E
4
4
1 + 2+ 3 4+ 1 + 2+ 3 4+ 1 + 2+ 3 4+ 1 + 2+ 3 4+
FIG.94 - RHYTHM 2
D C D C G
4
4
1 2+ 3 4+ 1 2+ 3 4+ 1 2+ 3 4+ 1 2+ 3 4+
FIG.95 - RHYTHM 3
E A C B E
4
4
1 + 2+ 3 4+ 1 + 2+ 3 4+ 1 + 2+ 3 4+ 1 + 2+ 3 4+
FIG.96 - RHYTHM 4
KNOW YOUR FRETBOARD (PART II)
You’ve already learned the names of the natural notes up to the 3rd fret. Let’s take a look
at a very special fret, the 5th fret.
THE 5TH FRET

Remember the first three natural notes on the 4th string? They are E, F and G. Want to
guess what the next one is?
0
It’s A and it’s found at the 5th fret.
FIG.97 - 4TH STRING 5TH FRET A
What’s the name of your 3rd string? It’s A as well,

right? Well, these are the same note, played two
different ways.
Play both these notes to confirm they are the same

pitch.
FIG.98 - SAME NOTE ON TWO STRINGS
Sometimes in bass playing, it’s really convenient to have a couple of options for a given
note. Many notes exist in several places around the neck.
Let’s look at some more you already know.
Know Your Fretboard - Part Two 55

0
Two of these open string equivalent notes are found in the

E A C Major scale. Start playing the C Major scale. The first note
is C. The second note is D. Stop! You’re playing the note D
C F
on the 3rd string at the 5th fret.
B
D G C
0
FIG.99 - C MAJOR SCALE
What’s the name of the 2nd string? It’s D! Confirm

they’re the same note by playing both the 3rd-string,
5th-fret D and the open 2nd-string D.
Pretty neat, right? Figure 100 shows these open string

equivalent notes.
FIG.100 - OPEN STRING

0 EQUIVALENTS
Keep going, you know more than that! Again, let’s

start playing the C Major scale. C, D, E, F, G..Stop.
You should be on the 2nd string at the 5th fret. You’ve
probably already guessed: this G is the same as the
open 1st-string G.

EQUIVALENTS
0
Here is a diagram of the equivalent pitches of the

open strings: A, D and G.
The fact that there are equivalent notes at the 5th fret

is possible because the strings of the bass are
tuned the same interval apart. They are all tuned a
Perfect 4th apart.

EQUIVALENTS
SOUNDCHECK
The natural notes of the first three frets can easily be remembered by grouping
the 2nd and 3rd strings which share similar fingerings (see chapter “Know Your
Fretboard [Part I]”).
Many notes on the bass can be found in several places on the fretboard.
The open strings have equivalents at the 5th fret of the lower adjacent string.
Strings are tuned the same interval apart.

ASSIGNMENT
Today’s Assignment 0 E A D G
Review the notes through the 5th fret, F

starting with the open 4th string, E. Work B E A
your way up the natural notes to the 5th
fret, saying the names as you go. Take G C F
note of the open string equivalents. B
A D G
FIG.103 - NATURAL NOTES
Know Your Fretboard - Part Two 57

SEEING MUSIC
METHOD BOOKS

DAY 7 - THE D MAJOR SCALE
MILESTONE
Play the G Major and C Major scales you now know.
There is a third scale that completes their set as well. It is D Major.
HOW TO PLAY A D MAJOR SCALE

Start with the pattern of the C Major Scale which starts on the 3rd string, 3rd fret. You
know that D is the second note of that scale and it is found on the 3rd string at the 5th
fret.
1 1
0 4 Play this same scale
2 2
pattern, now starting on D,
3 3rd string 5th fret.
E A
4 4 4
C F
D G C
FIG.104 - C MAJOR SCALE FIG.105 - D MAJOR SCALE 1 1

4 F# B
2
D
Since you’re already familiar with pentatonic scales, you
probably have guessed that the D Major Pentatonic looks 4 4 4
very much like the C Major Pentatonic. E A D
FIG.106 - D MAJOR PENTATONIC

The D Major Scale 59
3/4 TIME SIGNATURE
You know that many songs are in 4/4 time. This means there are four quarter-notes per
measure. Another time signature is 3/4 (pronounced three-four).
3/4 time has three quarter notes per measure. Every waltz is in 3/4 time. That’s what
makes it a waltz.
3/4 time is counted, “One, Two, Three, One, Two, Three..” Start by just counting a few
measures outloud.
0
G C
Now try this waltz, playing the roots of the
chords as indicated. Refer to the chart at right to
D
refresh your memory of the note locations.
FIG.107 - G, C AND D
G C D G
3
4
1 2 3 1 2 3 1 2 3 1 2 3
FIG.108 - WALTZ IN G MAJOR
ASSIGNMENT
Here are a variety of mini-songs using G, C and D chords.
Play just the root of each chord using the rhythm indicated. Keep time
smoothly and work to make the transitions from chord to chord smooth
and seamless.
Many measures use two chords per bar so you’ll be changing fingering
more frequently. Use a downward motion for each strum.
Figures 111 and 112 are in 3/4 time. Notice how they sound like waltzes!

ASSIGNMENT
G D C D G
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.109 - GDC COMBO RHYTHMS 1
G C D C D C
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
G C D C
3
4
1 2 3 1 2 3 1 2 3 1 2 3
D C G C G
3
4
1 2 3 1 2 3 1 2 3 1 2 3
The D Major Scale 61
DAY 8 - MINOR SCALES
MILESTONE
Play the E Major and A Major scales.
Every scale has a major version and a minor version.
HOW TO PLAY C MINOR AND G MINOR
CDE FGA B C FIG.113 - C MINOR NOTE NAMES
0 0
Look at the two scales at right.
You’re familiar with C Major
on the left. On the right is the E A
minor version: C Minor. 1 1 1
C F C F B
See how there are three notes B
difference between these 3 3 3
D G C D G C
scales? E becomes E flat, A 4 4
becomes A flat and B becomes E A
B flat. Those small changes
turn a major scale into a minor FIG.114 - C MAJOR SCALE FIG.115 - C MINOR SCALE
scale.
Play the C Minor version and notice the big difference in sound between it and C Major.
Generally, minor chords are used in songwriting to impart a sad feeling. Major chords, a
happy feeling. Isn’t it funny how changing just a few notes can do that?
Minor Scales 63
Just as three notes changed, converting C Major to C Minor, three notes transform G
Major into G Minor.
0 0
B E
1 1 1
G C G C F
F#
3 3 3
A D G A D G
4 4
B E
FIG.116 - G MAJOR SCALE FIG.117 - G MINOR SCALE
HOW TO PLAY A MINOR AND E MINOR

Here are the fretboard diagrams for A and E Minor scales. Give each of them a try.
0 E A D 0 A D G
1 1 1 1 1 1
#
F B E B E A
2 2 2 2
G C C F
FIG.118 - E MINOR SCALE FIG.119 - A MINOR SCALE
All of these scales are called natural minor scales. There are a few varieties of minor
scales in the world, but this is the one that gets used most.

HOW TO PLAY MINOR PENTATONICS
You’ll recall that pentatonic scales are made of five notes. The major variety uses the
root, 2nd, 3rd, 5th and 6th of the major scale. The minor variety is a little different. Have
a look.
Minor
Full Scale CDE FGA B C
Select
These
Degrees
1234567 1
Minor
Pentatonic C E FG B C
FIG.120 - C MINOR SCALE BECOMING C MINOR PENTATONIC
Play these minor pentatonic scales. Do they sound familiar? Minor pentatonics are what
make much of popular music (especially rock or hard rock) possible.
0 0 0 E A D 0 A D G
1 1 1 1
B E E A
1 1 1 1 1 1 2 2
C F B G C F G C
3 3 3 3
G C D G
4 4
E B
FIG.121 - C MINOR FIG.122 - G MINOR FIG.123 - E MINOR FIG.124 - A MINOR
PENTATONIC PENTATONIC PENTATONIC PENTATONIC
Minor Scales 65
PUTTING CHORD FLAVORS TOGETHER
Good music is like good cooking. It’s about finding combinations of flavors that are
interesting and go together well. Major and minor chords sound great together and
create interesting harmonies because of their different flavors.
One chord combination that sounds terrific is C Major and A Minor. Another is G Major
and E Minor. Give these pentatonic combinations a try.
0 0 0 0
1 1 1 1 1 1
2 2
4 4 4 4
C C A minor A minor
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.125 - C MAJOR - A MINOR PROGRESSION
0 0 0 0
1 1 1 1 1 1
2 2
4 4 4 4
G G E minor E minor
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.126 - G MAJOR - E MINOR PROGRESSION

Note: There are many ways to write the chord symbol for the same chord. Here are some
of the ways minor chords are indicated.
A min = -
A = a
FIG.127 - MINOR KEY NAMING CONVENTIONS
ASSIGNMENT
Try these progressions of chords, taking note of the different rhythms and
time signatures.
Stick to the roots of the chords indicated. This technique, although simple,
is a good basic way to begin playing bass lines for any song.
Start the following chord progressions slowly at first. The goal is very
steady rhythm and smooth transitions between chords, not high-speed!
C A min G E min
4
4
1 2 3+ 4 1 2 3+ 4 1 2 3+ 4 1 2 3+ 4
FIG.128 - CAGE PROGRESSION
C A- D G C E-
4
4
1 2+ 3 4+ 1 2+ 3 4+ 1 2+ 3 4+ 1 2+ 3 4+
FIG.129 - CADGCE PROGRESSION
G C e C
3
4
1 2 3 1 2 3 1 2 3 1 2 3
FIG.130 - GCEC PROGRESSION
Minor Scales 67
DAY 9 - PLAY YOUR FIRST SONGS
MILESTONE
Just think of all the scales you’ve learned in just a few days. Remember
all the combinations of note values, rhythms and time signatures you’ve
used.
Time give yourself a pat on the back for assembling all this knowledge in
a short amount of time!
HOW TO PLAY COUNTRY BASS

Country music originated as dance music. As a bass player, you’ll find your job in any kind
of dance music is to re-inforce beats 1 and 3 of a measure.
For much of early Country music, the bass line bounced happily between the root of the
chord and the 5th of the chord. Remember in the C Major scale, the root is C and the 5th
note, or degree, is G. Play this bouncing rhythm as indicated in the fretboard diagrams.
Make sure your notes stop cleanly on the quarter note rests.
0 0 0 0
2 2 2 2 2 2
4 4
C C G G
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.131 - COUNTRY BASS LINE IN C MAJOR
Play Your First Songs 69

0 0 0 0
2 2
E E A A
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
0 0 0 0
2 2 2 2 2 2
B B E E
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.132 - COUNTRY BASS LINE IN E MAJOR
HOW TO WALK A BLUES BASS LINE

Blues music is recognized and enjoyed everywhere in the world. Perhaps one of the
reasons it is so popular is because it has so many varieties.
Additionally, Blues music evolved into Rock and Roll, Country music and much of Jazz.
It’s certainly a form worth studying!
Blues bass lines often incorporate pentatonic scales. This kind of bass line doesn’t sit
still! It goes up high and down low which is how it got its name: Walking Bass. It walks all
over the place!
Use the patterns in the fretboard diagrams for each indicated chord in the song.
G Pattern C Pattern
1 1 1 1 1 1 1 1
2 2 2 2
2 2
4 4 4 4 4 4
D Pattern
1 1
4
2
G G G G
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
C C G G
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
D C G G
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.133 - G MAJOR 12-BAR BLUES
A Pattern D Pattern
1 1 1 1 1 1 1 1
4 4 4 4
2 2
4 4 4 4 4 4
E Pattern
1 1
6
2
A A A A
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
D D A A
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
E D A A
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.134 - A MAJOR 12-BAR BLUES

E Pattern A Pattern
0 0 0 0
1 1 1 1 1 1 1 1
4 4 4 4 4 4
B Pattern
0
1 1
2
E E A A
4
4
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
B A E E
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
FIG.135 - E MAJOR 8-BAR BLUES
HOW TO PLAY A ROCK AND ROLL SONG

Early Rock and Roll took the familiar chord changes of the Blues and started mixing
things up. Often the two forms would use the same chords, but Rock and Roll would
recombine them, putting a new twist on familiar chords. Energetic rhythms super-charged
these songs. Instead of playing each pentatonic note with one quarter note, play them
with two eighth notes. The first measure here is played G-G, B-B, D-D, E-E. It’s the same
progression as the Blues example, but with eighth notes instead of quarter notes.
G Pattern C Pattern
0 0 0 0
1 1 1 1 1 1 1 1
2 2
4 4 4 4 4 4
D Pattern
1 1
4
2
G G G G
4
4
1+ 2+3+ 4+ 1+2+3+4+ 1+2+3+4+ 1+2+3+4+
C C G G
1+2+3+4+ 1+2+3+4+ 1+2+3+4+ 1+2+3+4+
D C G G
1+2+3+4+ 1+2+3+4+ 1+2+3+4+ 1+2+3+4+

FIG.136 - G MAJOR ROCK AND ROLL

ROCK AND ROLL WITH MINOR CHORDS
Early Rock and Roll music certainly wasn’t afraid to experiment! Here’s an example of
1950s-style rock using major and minor chords.
This song uses an eighth-note rest followed by

an eighth-note, like this:
If you’re using a pick, play a reststroke on
the eighth-rest followed by an upstroke on
the next eighth-note.
Stick to the roots of the chords indicated

and watch the rhythm closely! It changes
near the end of the song. FIG.137 - EIGHTH REST AND EIGHTH NOTE
G e C D
4
4
1 2 3 + 4+
G e D C G
FIG.138 - G MAJOR ROCK AND ROLL
A D A E
4
4
A D A E A
FIG.139 - A MAJOR ROCK AND ROLL

ASSIGNMENT
Continue practicing the songs in this chapter. Then, continue reading the
next chapter where you’ll learn more about creating your own songs with
combinations of chords and rhythms you like. Of course, you may not like
every combination of chords you try. That’s normal. Write down the chord
combinations and rhythms you find interesting on the sheet music at the
end of this book.

DAY 10 - CREATING NEW BASS LINES
MILESTONE
You learned many scales, rhythms and patterns on the bass. So, now
how do you choose from all these options?
As a bass player, how should you approach your part in a song?
Bass players have a fundamental role in the construction of music. The bass generally
isn’t the lead instrument, such as a voice or guitar solo. The bass is usually the only
instrument on stage that is both keeping solid time (defining the beat) throughout the
song as well as defining the chords that are passing. Think about it: Drums don’t really
have pitches that change, all the other instruments may drop out from time to time.
It’s the job of the bass player to hold the rhythm together while supporting the chord
structure. Wow, that’s a really important job!
With that in mind, look at some of the guideposts you’ll use to make music.
CHORDS AND SCALES

GO TOGETHER
It probably isn’t surprising to hear that a major scale sounds good when
played over a major chord. You already know that a major pentatonic
goes with a major chord, a minor pentatonic with a minor chord. There
is a really great reason for this. Those chords that guitar players and
keyboard players play come from scales. Chords are derived from
scales and the bass guitar is great at playing various scales which help
reinforce the chords the rest of the instruments are playing.
Creating New Bass Lines 77

CHORDS COME FROM SCALES
The basis for all major and minor chords are just three notes: the root, 3rd and 5th
degrees of their scale. For example, from the C Major Scale (C, D, E, F, G, A, B C), select
the 1st, 3rd and 5th notes: C, E and G. C Major chords are built of these 3 notes.
Think about this for a minute. If guitar players have 6 strings and strum them all, how can
they be playing just 3 notes?
Sometimes instrumentalists will reinforce a chord by playing the root, 3rd and 5th as well
as octaves of those notes. That’s how a guitar player can strum a chord on all 6 strings at
the same time. They play the root, 3rd and 5th, as well as octaves of some or all of those
notes. Only 3 notes are necessary, but doubling those with octaves sounds more full.
Bassists rarely play more than one note simultaneously simply because in the low
registers, multiple notes can get muddy very quickly. Instead, the bass player plays the
song’s chords one note at a time.
This is a pretty heavy idea. Bass players, in a

real sense, are playing chords one note at a Instead of playing
time rather than several notes simultaneously.
What a cool way to support a song! chord notes
simultaneously, the
Here’s your job: Create bass lines that
frequently use the root, 3rd and 5th of
bass player plays the
the chord’s scale. Remember the major song’s chords
pentatonic? What scale tones does it use? one note at a time.
Root, 2nd, 3rd, 5th, 6th. Hey! The root, 3rd
and 5th are in there!
Remember the minor pentatonic? What scale tones does it use? Root, 3rd, 4th, 5th, 7th.
Eureka! It also uses the root, 3rd and 5th!
No wonder pentatonic scales make great bass lines! They come loaded with really
important notes.
You should know that some chords include more notes than just the root, 3rd and 5th to
add more color to the sound. For now, just remember that the most important thing you
can do in the bass register is play the root. It should be in almost every measure you ever
play. Also try to work in the 3rd and 5th if you can. And if you want to do some walking
around, pentatonic scales are a great tool.

DEVELOP YOUR STRATEGIES
You’ve already seen many examples of various rhythms and patterns
which hold a big variety of bass lines: Country 1-5 bouncing, Blues
Walking Bass, Rock and Roll eighth notes and just good old simple
quarter notes on the root of the chord. These are various approaches
to defining the rhythm or pulse of the song. No doubt, you’ll learn many
more ways to compose a bass line and you’ll want to keep all of these
ideas around. They’re like strategies you can use to fill out your part and
keep things interesting.
ASSIGNMENT
Revisit the bass lines you’ve learned throughout this book and examine the
note choices. Can you spot the root, 3rd and 5th in many of those lines?
Now try creating your own bass lines with combinations of chords, scales
and rhythms you like. Are you ready? Of course you are!
Of course, you may not like every combination of notes or chords you try.
That’s normal. Write down the chord combinations, bass lines and rhythms
you find interesting on the sheet music at the end of this book.
Creating New Bass Lines 79

MILESTONES IN MUSIC
Time to congratulate yourself on all you’ve learned!
• How to read fretboard diagrams
• Note names through the first 5 frets
• Time signatures and note values (eighth, quarter, half and whole)
• Major and minor scales
• Many commonly used rhythms
• Picking and fingerstyle techniques
• C Major and G Major scales
• Major and minor pentatonic scales
• Country, Blues and Rock and Roll Songs
• How to create new bass lines using various strategies

ASSIGNMENT
Keep learning! You’re well on your way to total bass guitar and musical
knowledge! Explore the vast world of music and dive into everything
you find interesting. You already have to tools to make music and begin
answering the questions you’ll discover along the way.
There are several books in the Seeing Music family you may find interesting
to develop your knowledge and skill. Seeing Music books put you inside
the mind of professional guitarists everywhere who organize their vast
knowledge by very simple visual means. Our books give you the tools to
continue teaching yourself, to be able to play anything, anytime.
Keep on makin’ music, musician!
Milestones 81
MORE GOOD STUFF TO STUDY
To keep your learning going, here are some subjects you may want to investigate.
Pentatonic Scales
Scale Exercises
Memorizing Your Fretboard
Modal Scale Theory
Complex Time Signatures
Bass Tones, Amps and Effects

CHORD AND NOTE REFERENCE
0 E A D G 0 A D G
B E A
G C F
A D G A D G
FIG.140 - NATURAL NOTES FIG.141 - OPEN-STRING EQUIVALENTS
0 0
1 1
E A
2 2
C F
3
B
4 4 4
D G C
FIG.142 - C MAJOR SCALE FIG.143 - C MAJOR SCALE
1 1
4 0
2 2
3 1 1
4 4 4 2 2
4 4 4
FIG.144 - D MAJOR SCALE FIG.145 - G MAJOR SCALE
Chord and Note Reference 83

1 1
4 C # F#
2 0 A
A
1 1 1
4 4 4 B E A
B E A
4 4
C# F#
FIG.146 - A MAJOR PENTATONIC FIG.147 - A MAJOR PENTATONIC
1 1
0 4 F #
B
2
D
1 1
E A
2 4 4 4
C E A D
4 4 4
D G C
FIG.148 - C MAJOR PENTATONIC FIG.149 - D MAJOR PENTATONIC
1 1
6 G# C# 0 E 0
2
E
1 1 1 1 1
F# B E B E
4 4 4 2
F# B E G
4 4
G C#
4 4 4
A D G
FIG.150 - E MAJOR FIG.151 - E MAJOR FIG.152 - G MAJOR

PENTATONIC PENTATONIC PENTATONIC

0 A D G 0
1 1 1
B E A
2 2 1 1 1
C F C F B
3 3 3
D G C
4 4
E A
FIG.153 - A MINOR SCALE FIG.154 - C MINOR SCALE
0 E A D 0
1 1 1
F# B E
2 2 1 1 1
G C G C F
3 3 3
A D G
4 4
B E
FIG.155 - E MINOR SCALE FIG.156 - G MINOR SCALE
0 A D G 0 0 E A D 0
1 1 1 1
E A B E
2 1 1 1 2 1 1 1
C C F B G G C F
3 3 3 3
G C D G
4 4
E B
FIG.157 - A MINOR FIG.158 - C MINOR FIG.159 - E MINOR FIG.160 - G MINOR
PENTATONIC PENTATONIC PENTATONIC PENTATONIC
Chord and Note Reference 85

BLANK DIAGRAMS AND STAFF PAPER
Fretboard Diagrams

Blank Fretboard Diagrams 87
Staff Paper
Blank Fretboard Diagrams 89

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BASS GUITAR

Hear this book!

Turn the page: you’re about to “see” music!

DAY 2 - PLAYING SINGLE NOTES 17

DAY 3 - THE MAJOR SCALE 23

KNOW YOUR FRETBOARD (PART I) 31

DAY 5 - A AND E MAJOR 39

KNOW YOUR BASS 45

KNOW YOUR FRETBOARD (PART II) 55

DAY 7 - THE D MAJOR SCALE 59

DAY 9 - PLAY YOUR FIRST SONGS 69

DAY 10 - CREATING NEW BASS LINES 77

CHORD AND NOTE REFERENCE 83

Size and Playability

Other Fancy Stuff

Bass Guitar Care 9

Hear this book!

10 Bass Guitar Beginners Jumpstart: A Seeing Music Method Book

FIG.3 - PROPER INSTRUMENT POSITION FIG.4 - GOOD HAND POSITION

Whatever you do, don’t worry about trying to

The strings of the bass are numbered

A NOTE ABOUT FINGERNAILS

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12 Bass Guitar Beginners Jumpstart: A Seeing Music Method Book

HOW TO READ FRETBOARD DIAGRAMS

FIG.7 - FRET NOTATION FIG.8 - FRETBOARD

FIG.9 - STRING NAMES AND NUMBERS

With your picking hand, feel free to use a pick or just

FIG.10 - OPEN 4TH STRING

Did that go well? Try another, this time open A,

FIG.11 - OPEN 3RD STRING

FIG.12 - FRET NOTATION FIG.13 - LEFT-HAND FINGERING

14 Bass Guitar Beginners Jumpstart: A Seeing Music Method Book

Don’t confuse a fretboard diagram with a

A NOTE ABOUT FRETBOARD DIAGRAMS

The number in the upper-left corner of a fretboard diagram indicates on which

Fretboard diagrams should not be confused with musical staves.

Have a seat with your bass in good playing position.

0 Start by playing open E. Using either your right-

Now try open A. Feel free to look down at your

FIG.16 - OPEN 5TH STRING (A)

Playing Single Notes 17

FIG.17 - 3RD STRING C

Now repeat, playing C on the 3rd string, then G on

FIG.18 - 4TH STRING G

18 Bass Guitar Beginners Jumpstart: A Seeing Music Method Book

Similarly, pick C then G. These are fretted

Give it a try. Pluck with your right, then

Palm Not Palm Lightly

FIG.20 - PICKING POSITION FIG.21 - PALM MUTING

FIG.22 - LEFT HAND MUTING E STRING

ABOUT STAFF NOTATION

Figure 24 shows a quarter-note rest. Where

20 Bass Guitar Beginners Jumpstart: A Seeing Music Method Book

Playing Single Notes 21

Remember: Your fretting ﬁnger should be just behind the fret;

THE AWESOME POWER OF SCALES

CDEFGABC FIG.30 - C MAJOR SCALE NOTE NAMES

The Major Scale 23