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B A S S S C A L E S ,
r d s & A r p e g g i o s
Ch o
Guitar Command
www.GuitarCommand.com

By Laurence Harwood.
Edited by Dan Wright.

This publication Copyright © 2015 by L. Harwood. All Rights

Reserved. This publication may not be copied or distributed in whole
or in part without prior written permission from the copyright holder.
 BASS GUITAR SCALES,
CHORDS & ARPEGGIOS
4. How To Read Scale Diagrams 25. Chords
6. Scale Spellings 26. Quick Reference Chords
6. Bass Fretboard Notes Diagram 27. Major
28. Minor
7. Scales
29. Dominant 7th
7. Pentatonic Minor
30. Minor 7th
8. Pentatonic Major
31. Major 7th
9. Blues 32. Power Chords
10. Major (Ionian) 33. Diminished 7th
11. Dorian 34. Movable Chord Shapes
12. Phrygian 34. Major, Minor
13. Lydian 35. Dominant 7th, Minor 7th, Major
7th
14. Mixolydian
36. Power Chords, Diminished 7th,
15. Aeolian (Natural Minor) Minor 7th flat five
16. Locrian Modal 37. Arpeggios
17. Harmonic Minor 37. Major
18. Jazz Minor Scale (Melodic Minor) 37. Minor
19. Phrygian Dominant (Spanish 37. Dominant 7th
Gypsy, Freygish) 38. Minor 7th
20. Double Harmonic (Arabic, Gypsy, 38. Major 7th
Byzantine) 38. Major 6th
21. Altered 39. Minor 6th
22. Diminished 39. Suspended 2nd
39. Suspended 4th
23. Whole Tone
40. Diminished 7th
24. Chromatic
40. Minor 7th Flat 5
 Introduction
The Guitar Command Bass Scales, Chords And Arpeggios Book is a reference
book for all bass guitarists. It contains a comprehensive collection of scales,
chords and arpeggios that can be used while improvising and composing.

A good knowledge of scales and arpeggios can help you to compose and
improvise original and exciting bass lines. Playing scales and arpeggios as part
of a regular practice routine can also develop finger dexterity and general
playing technique.

The scales, chords and arpeggios in this book are presented in diagram form.
Multiple diagrams are provided for each type of scale, movable chord and
arpeggio, allowing them to be played all over the neck. Each scale is also
shown in one octave in notation and TAB, with a tonic note of C.

All the commonly used bass chords are also included in a quick reference
section, allowing you to find the chord that you need quickly and easily.

How To Read Scale Diagrams

Bass scale diagrams represent the fretboard, and show where the fretting
fingers should be placed in order to play a scale.
• The tonic notes (the note that the scale is named after - i.e. the ‘G’ in G
Major) of the scale are represented by white circles; the black circles show
all of the other notes in the scale available in that position.
• Use the bass fretboard notes diagram on page 5 to position the white
notes over the tonic note you need (see illustration overleaf ).
• When playing scales, start and end on white notes. When using the
scale in improvisation or while playing a bass line, all of the notes in the
diagram may be used.
• Some scale diagrams can be used for more than one tonic note (e.g.
diminished scale diagrams). Where this occurs, all of the potential tonic /
root notes are shown as white circles.
The illustration overleaf shows how a major scale diagram is used to play a G
major scale.

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In the illustration below, the major scale diagram on the left is shown
overlaid on the bass neck on the right. The white circles are positioned over
G notes on the fretboard; the scale produced by playing up from the lowest
white note to the next (an octave higher) is a G major scale.
If you were to position your hand so that the white circles were over A notes
on the fretboard, the same scale diagram would produce an A Major scale.

Playing Scales
• To play complete scales, use diagrams that contain two white circles. Play
up from the lowest white note to the highest and down again, playing the
highest note only once.
• Combine two or more scale diagrams (by changing fretboard position as
you play) to create two octave scales and longer lines.
• All of the notes in scale diagrams (black and white) can be used in
improvisation or when playing bass lines and riffs.

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 Scale Spellings
Scale spellings (also known as ‘scale formulas’) show the notes of a scale
compared to those of a major scale. Examples are given in the chart below:

Scale Type Scale Spelling Notes With Tonic Of C

Major 1, 2, 3, 4, 5, 6, 7 C, D, E, F, G, A, B
Dorian 1, 2, Ñ3, 4, 5, 6, Ñ7 C, D, EÑ, F, G, A, BÑ
Phrygian 1, 2, 3, #4, 5, 6, 7 C, D, E, F#, G, A, B

Bass Fretboard Notes Diagram

0 (Open) E A D G
1 F A#/BÑ D#/EÑ G#/AÑ
2 F#/GÑ B E A
3 G C F A#/BÑ
Fret Number

4 G#/AÑ C#/DÑ F#/GÑ B

5 A D G C
6 A#/BÑ D#/EÑ G#/AÑ C#/DÑ
7 B E A D
8 C F A#/BÑ D#/EÑ
9 C#/DÑ F#/GÑ B E
10 D G C F
11 D#/EÑ G#/AÑ C#/DÑ F#/GÑ
12 E A D G
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 Pentatonic Minor Scale
The pentatonic minor scale forms the basis of many famous riffs and
bass lines. It is used by practically every bassist in every musical style,
and should be among the first scales a beginner bass guitarist learns.
Scale spelling: 1, ♭3, 4, 5, ♭7

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 Pentatonic Major Scale
A widely used scale that produces a clear, melodic sound. Ideal for
playing over major chord sequences. Often used in country and rock
music. Notice that the shapes are the same as those of the pentatonic
minor, but that the root notes are in different positions.
Scale Spelling: 1, 2, 3, 5, 6

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 Blues Scale
One of the most commonly used scales, and not just in blues music.
The blues scale is the same scale as a pentatonic minor, but with an
additional note – the flattened fifth. This is known as the ‘blues’ note,
and produces the characteristic blues sound.
Scale spelling: 1, ♭3, 4, ♭5, 5, ♭7

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 Major Scale /
Ionian Modal Scale
The ‘standard’, familiar sounding scale, upon which the scale spelling system is based.
Many famous melodies have been written using the major scale, and it is also often used
in improvisation. Major scales can also be referred to as Ionian modal scales.
Scale spelling: 1, 2, 3, 4, 5, 6, 7

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 Dorian Modal Scale
The Dorian mode is the second mode of a major scale. It has a
distinctive minor tonality and is often used when playing over minor
seventh chords.
Scale spelling: 1, 2, ♭3, 4, 5, 6, ♭7

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 Phrygian Modal Scale
The Phrygian mode is the third mode of a major scale. It is a minor
scale, and can give a Spanish or Eastern sound to your playing.
Scale spelling: 1, ♭2, ♭3, 4, 5, ♭6, ♭7

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 Lydian Modal Scale
The Lydian mode is the fourth mode of a major scale. It is the same
as a normal major scale but with a raised fourth note; this forms a
tritone (augmented fourth interval) with the tonic note and gives the
scale its unique sound.
Scale spelling: 1, 2, 3, ♯4, 5, 6, 7

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 Mixolydian Modal Scale
The Mixolydian mode is the fifth mode of a major scale. Its minor
(flattened) seventh note makes it suitable for playing over dominant
seventh chords whose root is the same as the tonic note of the scale.
Scale spelling: 1, 2, 3, 4, 5, 6, ♭7

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 Aeolian Modal Scale /
Natural Minor Scale
The Aeolian mode is the sixth mode of a major scale. It is also known
as the natural minor scale and can be used in minor chord sequences.
Scale spelling: 1, 2, ♭3, 4, 5, ♭6, ♭7

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 Locrian Modal Scale
The Locrian mode is the seventh mode of a major scale. It can be used
to play over minor seventh flat five chords.
Scale spelling: 1, ♭2, ♭3, 4, ♭5, ♭6, ♭7

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 Harmonic Minor Scale
The harmonic minor scale produces a ‘classical’ minor sound that is
reminiscent of music from the Baroque period.
Scale spelling: 1, 2, ♭3, 4, 5, ♭6, 7

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Jazz Minor Scale / Melodic Minor Scale
The jazz minor scale is also known as the melodic minor scale, although
strictly speaking it is only the same as the descending form of the melodic
minor used in traditional ‘classical’ music theory. The jazz minor is a good
scale to use with minor sixth chords. If the seventh note of a jazz minor scale
is used as the tonic note, it becomes an altered scale. Compare the two scales
to see the relationship.
Scale spelling: 1, 2, ♭3, 4, 5, 6, 7

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 Phrygian Dominant Scale
The Phrygian dominant scale is also known as the ‘Spanish gypsy’ or ‘Freygish’
scale. (Note: the double harmonic scale is also sometimes called the Spanish
gypsy scale). The Phrygian dominant can also be thought of as being the fifth
mode of a harmonic minor scale – the scale shapes are the same but the tonic
notes are different depending on which scale is being played. The scale produces
an Eastern sound that can add interest to your bass lines and solos.
Scale spelling: 1, ♭2, 3, 4, 5, ♭6, ♭7

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 Double Harmonic Scale
The double harmonic scale is another Eastern-sounding scale. It goes
by several other names, including the Arabic scale, (Spanish) gypsy
scale and Byzantine scale.
Scale spelling for Double Harmonic Scale: 1, ♭2, 3, 4, 5, ♭6, 7

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 Altered Scale
The altered scale is the same as a jazz minor scale that starts from the
seventh degree. It is mainly used to improvise over dominant chords*.
The altered scale is so-called because it contains every possible altered
note (sharpened and flattened 5ths, 9ths and 11ths). These altered notes
are used by improvisers to create jazzy-sounding tensions in their lines.
Scale spelling: 1, ♭2, ♭3, ♭4, ♭5, ♭6, ♭7

• Many bassists simply play a

jazz minor scale a semitone
higher than the dominant
chord – it can then be
considered to be an altered
scale and only one scale needs
to be learned.

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 Diminished Scale
Diminished scales move in alternate whole and half-steps. They can be
used to improvise over diminished chords with the same root as the tonic
of the scale. They are also used over dominant chords whose root is a
half-step below the tonic of the scale. Used in this way, diminished scales
create tensions that can give the line a jazz sound.
Scale spelling: 1, 2, ♭3, 4, ♭5, ♭6, 6, 7

Every other note of a diminished scale can be

considered to be a root note: for example, an A
diminished scale contains the same notes as a C
diminished scale. For this reason each scale shape
has more than one root note marked.

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 Whole Tone Scale
The notes in a whole tone scale are all a whole tone apart. Because of
this, every note in the scale shapes below can potentially be a tonic
note. This scale can be used over dominant flat-five or sharp-five
chords.
Scale spelling: 1, 2, 3, ♯4, ♯5, ♭7

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 Chromatic Scale
The chromatic scale moves in half-steps. Every note in these chromatic
scale shapes could be considered to be a tonic note. Playing chromatic
scales can be a good warm-up exercise.

Play this scale shape either by

using your index finger to play
the first two notes on each
string OR by using your little
finger to play the last two notes
on each string.

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 Chords
The chords section of this book is in two main parts: Quick Reference
Chords, which contains commonly used chords shown with every root
note, and Movable Chords, which contains chord shapes that can be moved
around the neck.
Chords add a different texture to a bass part. They are usually strummed, but
can also be arpeggiated (their notes played individually) to make riffs and
bass lines.

Chord Diagrams
• Chord diagrams represent the fretboard in the same way as scale diagrams;
however, when playing chords, all of the notes are played at the same time
(unless the chord is being arpeggiated).

• A circle above a string in a chord diagram means that the string is played
as part of the chord but is not fingered, i.e. it is left ‘open’.

• An ‘X’ above a string means that the string should not be played as part
of that chord. Try to avoid hitting it with either your plectrum or fingers
when you strum the chord, or stop it from sounding by muting it with
other fretting fingers.

• In non-movable chord diagrams (such as those in the quick reference

chords section), a thick horizontal line at the top represents the ‘nut’ of
the guitar. The nut is the grooved ridge between the fretboard and the
headstock. If the nut is not shown, a number by the side of the diagram
shows the fret at which the chord should be played.

• Some chord shapes require the use of a ‘Barre’. This is when a finger
(usually the index finger) is placed across the fretboard and used to play
more than one note at a time. Barres are shown as curved lines on chord
diagrams.

• Use the bass fretboard notes diagram on page 5 to find where to position
movable chord shapes.

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 Tips For Playing Chords
Experiment with where you put your fingers in the frets. Positioning
fingers closer to the fretwire (towards the right of the fret on a
standard, right-handed bass guitar) can minimise fretbuzz and make
chords easier to play.

While you are learning a chord, try playing the notes one at a time
rather than all at once. This will let you know if every note in the
chord is sounding correctly. If any notes sound dull or are not
sounding at all, shuffle your fingers around until all of the notes ring
out clearly.

Remember, if you are having problems getting all of the notes to

sound, it is usually a case of moving your fingers around within the
frets to find a more efficient position rather than simply pressing
down harder.

Learning just one movable chord shape means that you can play that
chord with any root note. (The root note is the note that gives the
chord its name, e.g. the ‘G’ in ‘G major’.) Therefore, if you learn a
movable major chord shape, you can play any major chord! However,
to avoid either playing chords too high up the fretboard or having
to jump around the fretboard too much, it is always useful to know
more than one way of playing each type of chord.

Bass Guitar Chords -

Quick Reference
The following section contains all of the commonly used types of chord with
every root note. For other ways of playing these chords, refer to the ‘Movable
Chords’ section.

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 Major

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 Minor

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 Dominant 7th

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 Minor 7th

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 Major 7th

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 Power Chords

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 Diminished 7th

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 Movable Chords
Movable chord shapes can be moved up and down the fretboard to make
chords with different root notes. For example, the same major chord shape
that produces a G major chord at the third fret will produce an A major
chord if it is played two frets higher up the neck. (‘Higher up the neck’
means closer to the player.)

In all of the following diagrams, the white circles show the root notes of the
chord shapes. Use the fretboard notes diagram on page 5 to find where to
position the chord shapes to play the desired chord.

Major Movable Shapes

Minor Movable Shapes

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 Dominant 7th Movable Shapes

Minor 7th Movable Shapes

Major 7th Movable Shapes

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 Power Chords Movable Shapes

Diminished 7th Movable Shapes

Minor 7 Flat 5 Movable Shapes

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 Arpeggios
Arpeggios are chords in which the notes are played one at a time, rather than
all at once. All of the arpeggios shown here are ‘movable’ shapes, with the
root notes being represented by the white circles. Use arpeggios to create riffs,
bass lines and patterns, or in improvisation.

Major

Minor

Dominant 7th

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 Minor 7th

Major 7th

Major 6th

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 Minor 6th

Suspended 2nd

Suspended 4th

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 Diminished 7th

Minor 7th Flat Five

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 Guitar Command Bass Backing Tracks
You’ve learned the scales – now use them ...
High-quality bass guitar backing tracks for practice & performance
Bass Scales & Bass Modes Backing Tracks by Guitar Command

• Specially written to help bass

guitarists master scales and
modes.
• Gain maximum benefit from
practice sessions.
• Use scales with confidence all
over the neck.
• Available for immediate
Also Available: download from: iTunes, Amazon
& many other online stores.

Bass Backing Tracks - Bass Backing Tracks -

Metal Blues
• Invent your own bass lines or improvise solos.
• Play whenever inspiration strikes!
• Suitable for practice & performance.

Bass Tabs: Bass Lines, Riffs & Tunes

A book packed with ideas for bass guitarists. Songs, riffs and famous
tunes presented in bass tab and notation. Learn how to write and play
effective bass lines. Improve your technique and sight-reading.

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