CONTENTS IONIAN b5 MODES IONIAN b5 DORIAN b4 PHRYGIAN bb3 LYDIAN B2 SUPER LYDIAN AUGMENTED AEOLIANT bb7 LOCRIAN bb6 28-29 PENTATONIC BOX SHAPES MINOR MAJOR EGYPTIAN MAN GONG BLUES MAJOR 29-30 BLUES BOX SHAPES SHAPE 1 SHAPE 2 SHAPE 3 SHAPE 5 SHAPE 5 SHAPE 6 31-32 WHOLE TONE SCALE 33-34 CHROMATIC SCALE 33-34 AUGMENTED SCALE MODES AUGMENTED AUGMENTED INVERSE 33-34 INTRODUCTION THE FRETBOARD NOTES OF THE FRETBOARD WHAT ARE SCALES CREATING SCALES METHOD 1 CREATING SCALES METHOD 2 BOX SHAPES READING THE SCALES USING THEMAJOR SCALE PATTERN WHAT ARE MODES CHORCD CONSTRUCTION HOW THIS BOOK WORKS HOW TO PRACTICE SCALES 6 6 7 8 8 9 10 13 14 15 15 16 17 MAJOR SCALE MODES IONIAN DORIAN PHRYGIAN LYDIAN MIXOLYDIAN AEOLIAN LOCRIAN 20-21 HARMONIC MAJOR MODES HARMONIC MAJOR DORIAN b5 PHRYGIAN b4 LYDIAN b3 MIXOLYDIAN b9 LYDIAN AUGMENTED #2 LOCRIAN bb7 22-23 HARMONIC MINOR MODES HARMONIC MINOR LOCRIAN #6 IONIAN #5 DORIAN #4 PHRYGIAN #3 LYDIAN #2 MIXOLYDIAN #R 24-25 TRITONE SCALE MODES TRITONE MODE 2 MODE 3 35-36 MELODIC MINOR MODES MELODIC MINOR DORIAN b2 LYDIAN AUGMENTED LYDIAN b7 MIXOLYDIAN b6 LOCRIAN #2 SUPER LOCRIAN 26-27 PERSIAN SCALE MODES PERSIAN IONIAN #2 #6 CHROMATIC PHRYGIAN INVERSE TODI CHROMATIC MIXOLYDIAN INVERSE CHROMACTI HYPODORIAN INVERSE CHROMATIC HYPOPHRYGIAN INVERSE 30-41 EDWARD ROGERS 1 THE BOOK OF BASS SCALES hUNGARIAN MAJOR MODES HUNGARIAN MAJOR ALT bb6 bb7 LOCRIAN NATURAL 2 7 ALT NATURAL 6 MELODIC AUGMENTED DORIAN b2 #4 LYDIAN AUGMENTED #3 42-43 NEAPOLITAN MINOR MODES NEAPOLITAN MINOR LYDIAN #6 MIXOLYDIAN #5 AEOLIAN #4 LOCRIAN NAT 3 IONIAN #2 ULTRA LOCRIAN bb3 52-53 HUNGARIAN MINOR MODES HUNGARIAN MINOR ORIENTAL IONIAN AUGMENTED #2 LOCRIAN bb3 bb7 DOUBLE HARMONIC MAJOR LYDIAN #2 #6 ALT NATURAL 5 bb7 44-45 DHENUKA SCALE MODES DHENUKA IONIAN #5 #6 DORIAN AUGMENTED #4 PHRYGIAN NAT 3 #4 LYDIAN #2 #3 ULTRA LOCRIAN NAT 2 CHROMATIC MIXOLYDIAN b4 54-55 ENIGMATIC MAJOR MODES ENIGMATIC MAJOR CHR HYPOPHRYGIAN ##4 ##5 LYDIAN b6 bb7 ARABIAN bb6 AEOLIAN b4 bb5 LOCRIAN bb3 bb4 IONIAN b2 bb3 46-47 SAMBAH SCALE MODES SAMBAH LOCRIAN bb3 RAGA SUPRADHIPAM LYDIAN AUGMENTED #2 #6 MALINI MELA LATANGI IONIAN b5 b7 56-57 ENIGMATIC MINOR MODES ENIGMATIC MINOR CHROMATIC MIXOLYDIAN INVERSE ##5 CHROMATIC HYPODORIAN INVERSE ##4 CHROMATIC HYPODORIAN INVERSE 3 ARABIAN #2 7 CHROMATIC DORIAN bb4 bb5 CHROMATIC DORIAN 7 48-49 BLUES MODIFIED MODES BLUES MODIFIED RAVEL bb5 JAZZ MINOR b4 DORIAN b2 bb3 LYDIAN AUGMENTED b2 SUPER LYDIAN AUGMENTED ##4 HINDU bb7 58-59 NEAPOLITAN MAJOR MODES NEAPOLITAN MAJOR LYDIAN #5 #6 MIXOLYDIAN #5 #11 MIXOLYDIAN #11 b13 ARABIAN LOCRIAN NAT 2 b4 SUPERLOCRIAN bb3 50-51 VERDIS ENIGMATIC MODES VERDIS ENGIMATC CHROMATIC PHRYGIAN ##4 ##5 MELA DHAVALAM BARI CHROMATIC HYPOPHRYGIAN b6 PERSIAN #2 bb7 LOCRIAN bb3 bb4 bb6 CHROMATIC MIXOLYDIAN 6 7 60-61 EDWARD ROGERS 2 THE BOOK OF BASS SCALES COMPOSITE II MODES COMPOSITE II MODE 2 MODE 3 MODE 4 CHROMATIC LYDIAN CHROMATIC PHRYGIAN MODE 7 62-63 LOCRIAN NATURAL 7 MODES LOCRIAN NAT 7 IONIAN #6 DORIAN AUGMENTED PHRYGIAN #4 LYDIAN #3 DOMINANT #2 ALTERED ALTERED 72-73 BEBOP SCALE MODES BEBOP MAJOR DORIAN BLUES BEBOP PHRYGIAN BEBOP LYDIAN MINOR MIXOLYDIAN + b9 BEBOP DIMINISHED MINOR BEBOP HARMONIC MINOR BEBOP LOCRIAN DIMINISHED 64-65 8 TONE SPANISH SCALE MODES 8 TONE SPANISH BEBOP IONIAN MINOR BEBOP DOUBLE DORIAN LYDIAN AUGMENTED + b9 BEBOP PHRYGIAN DIMINISHED BEBOP LYDIAN DOMINANT BEBOP MIXOLYDIAN AUG AEOLIAN BLUES 74-75 BEBOP DOMINANT SCALE MODES BEBOP DOMINANT BEBOP MINOR BEBOP LOCRIAN + 5 LYDIONIAN MIXODORIAN PHRYGIOLIAN LYDIOCRIAN LOCRYDIAN 66-67 HIRAJOSHI SCALE MODES HIRAJOSHI IWATO HIDOLITA JAPANESE PENTATONIC RAGA MALASHRI 76-77 BEBOP DORIAN SCALE MODES MODE 2 MODE 3 MODE 4 MODE 5 MODE 6 MODE 7 MODE 8 68-69 PELOG SCALE MODES PELOG RAGA VAIJAYANTI RAGA KHARMAJI DURGA MODE 4 IONIAN PENTATONIC 78-79 BEBOP LOCRIAN NAT 2 MODES BEBOP LOCRIAN NAT 2 MODE 2 MODE 3 MODE 4 MODE 5 MODE 6 MODE 7 MODE 8 70-71 DOMINANT SUS SCALE MODES DOMINANT SUS PHRYGIAN HEXATONIC SCOTTISH HEXATONIC MINOR HEXATONIC RITSU LYDIAN HEXATONIC 80-81 EDWARD ROGERS 3 THE BOOK OF BASS SCALES KUMOI SCALE MODES KUMOI IN SEN RAGA HINDOL HAN KUMOI RAGA JAYAKAUNS 82-83 PROMETHEUS SCALE MODES PROMETHEUS MODE 2 MODE 3 MODE 4 MODE 5 MODE 6 84-85 DOMINANT PENTATONIC MODES DOMINANT PENTATONIC CHAIO RAGA HARIKAUNS MODE 4 KUNG 86-87 EDWARD ROGERS 4 THE BOOK OF BASS SCALES INTRODUCTION Welcome to the Book of Bass scales, a book that does exactly what it says on the front cover!! This book has been put together to help fellow bass players learn the fingering patterns for a range of different scales from the many styles of music around the world. Through months of searching through books, the internet and sharing knowledge with fellow bass players, I have managed to collect a huge collection of scales which are all found within this book. This book will be a reference for all bass players. THE FRETBOARD The Fretboard is the name we give to the collection of metal strips that run perpendicular to the strings along the neck of most stringed instruments. These metal strips (frets) separate out the 12 musical notes. The open strings (played without holding the strings down at any frets) are the first note of each string (B,E,A,D,G or E,A,D,G). The first fret is the second; the second fret is the third and so on up until the 11th. The 12th fret is an octave (same pitch but higher) above the string tuning. The 13th fret is an octave above the 1st, 14th is an octave above the 2nd and so on. Below is an example of the diagrams that you will see throughout this book. The diagram is called a Fretboard diagram and is used to represent the Fretboard of the bass. These diagrams are used to show the finger patterns for scales. EDWARD ROGERS 5 THE BOOK OF BASS SCALES NOTES OF THE FRETBOARD So now we know what a fretboard diagram looks like, we can put the 12 musical notes in place on it. From this we can start to examIne the relationships between the strings. Figure 1 shows the fretboard diagram with the string names, Figure 2 shows the notes found at each fret of each string and Figure 3 shows the fret numbers. FIG 1 FIG 2 FIG 3 As you can see, the note on the 5th fret of a string is the same as the open string above. This is because the bass guitar is tuned to the 5th fret of the string below meaning that the bass is a perfectly symmetrical instrument. The 5th fret and the above open string share the same note pitch at the same frequency which means they are exactly the same note. Additionally, you can find the pitch of any note in a different place if you move up a string and back 5 frets or down a string and forward 5 frets. For example, the note at the 10th fret of the B string is the same note as that found on the 5th fret of the E string or the open A string. EDWARD ROGERS 6 THE BOOK OF BASS SCALES WHAT ARE SCALES A scale is an ascending or descending group of notes played one after the next between any note and its octave. CREATING SCALES METHOD 1 TONES AND SEMITONES One of the ways we can create scales is through intervals known as Tones and Semitones. Let’s look at the length of these intervals. For simplicity, I have coloured coded the intervals so that you can see how they work on our Fretboard below. - Semitone (1) – Play the fret next to the note currently being played - Tone (2) – Miss a fret then play the next (equal to 2 semitones) - Tri-tone (3) – Miss two frets then play the next (equal to 3 semitones) - Double Tone (4) – Miss three frets then play the next (equal to 2 Tones/4 Semitones) So that we can better understand these intervals, let’s take a look at the structure of the major scale. The interval pattern of the Major Scale is as follows: - TONE, TONE, SEMITONE, TONE, TONE, TONE, SEMITONE or T-T-S-T-T-T-S In our diagram below, the root and octave notes have been coloured in purple just highlight the start and end of the scale. The first note in any scale is known as the root (R). The first purple circle is our first note, so from there we move a Tone (miss a fret play a fret), followed by another tone, then a semitone (play next fret) and so on until we reach the octave (which is where our scale ends). EDWARD ROGERS 7 THE BOOK OF BASS SCALES CREATING SCALES METHOD 2 INTERVALS Ever note between the root and its octave has a name. These are known as intervals. In the table and diagram below you will see the different interval names and where they are in relation to the root on the fret board. I have also shown the interval positions for the alternative scale. You will notice that the alternate intervals are all up a string and back five frets towards the head, all except the root and the intervals above the root. Furthermore, as you get onto more exotic scales you will note intervals such as 9th, 11th, 13th, etc. The 9th is another name for the second as it is an octave above the 2nd. The 11th is another name for the 4th and the 13th is another name for the 6th, etc. Basically you just add 7 to your interval to get the same interval an octave up. Interval R b2 2 b3/#2 3 P4 b5/#4 P5 b6/#5 6 b7/#6 7 Name Root Flat 2nd/Sharp Root 2nd Flat 3rd Sharp 2nd 3rd Perfect 4th Flat 5th/Sharp 4th Perfect 5th Flat 6th/Sharp 5th 6th Flat 7th /Sharp 6th 7th EDWARD ROGERS Alternate Name Alternate symbol Minor 2nd Major 2nd Minor 3rd Major 3rd m2 M2 m3 M3 Diminished 5th /augmented 4th Dim 5 /Aug 4 Minor 6th /Augmented 5th Major 6th Minor 7th Major 7th m6 /Aug 5 M6 m7 M7 8 THE BOOK OF BASS SCALES BOX SHAPES Box shapes are essentially a box with a maximum width of 6 frets that a scale can be fully played inside. We play scales in box shapes as all the notes fall under a single area that our hands can quickly move about in. The diagrams below show how a major scale fits into a box shape (remember if we want to find a note on the string below then we move up 5 frets and down a string). The first diagram shows the major scale within the 6 fret box shape. In the second image we have selected the top two notes. In the third image we have moved these two notes down a string by following the 5 fret rule. In this image we have also selected all the notes on the second string of the scale. In the final image we have moved these notes down again. This gives us the same scale across a single string. So now try playing the top image and then the bottom image. Which is easier to play? Now you see why we play in box shapes. EDWARD ROGERS 9 THE BOOK OF BASS SCALES READING THE SCALES At this point I am assuming that you know that apart from the open string and first four frets of the lowest string every note can be played in at least two different places. So let’s explore the diagrams within this book. Figure 4 shows the Major Scale in one possible pattern; Figure 5 shows how we change the first pattern to make the second and Figure 6 shows the second pattern. The Red circles are the Root and Octave; the black circles are the other notes in the scales FIG 4 FIG 5 FIG 6 EDWARD ROGERS 10 THE BOOK OF BASS SCALES We can then change this again to get a third pattern seen below. Figure 7 shows the second pattern that we created above, Figure 8 shows how we can move the notes to create another pattern and Figure 9 is the third pattern FIG 7 FIG 8 FIG 9 EDWARD ROGERS 11 THE BOOK OF BASS SCALES USING THE MAJOR SCALE PATTERN In the diagram below you will see four fretboards (2 without notes and 2 with), each with the major scale pattern on. Starting on the 1st fret of the E string (Fig 10) we can see that the the notes of the F Major scale are: F, G, A, Bb, C, D, E If we then move the pattern to the 3rd fret of the B string then we get the notes of the D Major scale (Fig 11). Basically this means that I can place the major scale pattern anywhere on the fretboard and we get the major scale of the root note we pick. FIG 10 FIG 11 The next diagram is the same as the one we have just seen but with a two octave scale. On these diagrams I have made the root note and octaves blue, the first scale red and the second scale yellow. If you look at the notes in the red scale (pattern 1), you will notice that they are identical to the ones in the yellow scale (pattern 2). EDWARD ROGERS 12 THE BOOK OF BASS SCALES WHAT ARE MODES? So now that we know how to build the major scale, what would happen if we were to alter the order of the intervals? Well firstly let’s give some names to the different notes of the scale. One common way of expressing a note from a scale is to call it a “degree”. For example, the 2nd note of a scale is the 2nd degree, the 6th note of a scale is the 6th degree. You may also find them under names such as Tonic, Submediant, Mediant, etc. The table below shows the different names for the different notes of a scale. NOTE ROOT 2ND NOTE 3RD NOTE 4TH NOTE 5TH NOTE 6TH NOTE 7TH NOTE NAME 1 ROOT/1ST DEGREE 2ND DEGREE 3RD DEGREE 4TH DEGREE 5TH DEGREE 6TH DEGREE 7TH DEGREE NAME 2 TONIC SUPERTONIC MEDIANT SUBDOMINANT DOMINANT SUBMEDIANT LEADING TONE The Major Scale can be said to be built off the TONIC with a pattern of tones and semitones: T-T-S-TT-T-S. If we were to build the scale from the SUPERTONIC then we would have a different scale. By starting from the SUPERTONIC we discard the first Tone of the interval pattern and instead add it to the end changing the pattern. T-T-S-T-T-T-S = T-S-T-T-T-S-T This pattern is known as the Dorian Scale. Similarly if we were to start the pattern from the SUBDOMIANT (4th note) then we would remove the first three intervals of the pattern and add them to the end giving us a scale known as the Lydian Scale. T-T-S-T-T-T-S = T-T-T-S-T-T-S The table below shows the names of the scale built off the different intervals of the Major Scale, as well as the interval structure and an example of the notes from the key of C. Figure 12 is a visual representation of what we have been discussing MAJOR SCALE T-T-S-T-T-T-S C-D-E-F-G-A-B DORIAN T-S-T-T-T-S-T D-E-F-G-A-B-C PHRYGIAN LYDIAN MIXOLYDIAN S-T-T-T-S-T-T T-T-T-S-T-T-S T-T-S-T-T-S-T E-F-G-A-B-C-D F-G-A-B-C-D-E G-A-B-C-D-E-F AEOLIAN LOCRIAN T-S-T-T-S-T-T S-T-T-S-T-T-T A-B-C-D-E-F-G B-C-D-E-F-G-A FIG 12 EDWARD ROGERS 13 THE BOOK OF BASS SCALES CHORD CONSTUCTION You will notice next to every traditional western scale (7 notes) there is a scale type name such as major, minor, diminished, etc. These tell you exactly what type of scale they are and the chord types to play them over. To determine what type a scale is we look at the Root-3rd-5th-7th. In the diagrams below you will see all scale types plus how they are made up. The exotic scales have been excluded from this to avoid unnecessary confusion. Major R-3-5-7 Minor R-b3-5-b7 Dominant R-3-5-b7 Diminished R-b3-b5-b7 Augmented R-3-#5-7 EDWARD ROGERS 14 THE BOOK OF BASS SCALES HOW THIS BOOK WORKS The scales throughout the book are laid out in a two page format. Each left page will have a scale followed by its modes. The fret board diagram next to each of these scales will show the finger pattern to play the scale through two octaves (first octave in blue, second octave in green). In addition to this, the left page will: - show how the scale is created in intervals - show how it is created in tones and semitones - show the name of each mode plus alternate names Each right page will have the same scales with another fret board diagram. This second diagram will show an alternative finger pattern for the first octave whilst the second octave will be one of the two patterns on the left page. The idea behind this is to show the different finger patterns for each scale allowing any bass player to be able to find their way around the fret board quicker. It is also important to note that these scales have been written on a 5 string bass with B,E,A,D,G tuning (standard tuning where each string is tuned to the fifth fret of the string below) because you can write out a perfect two octave scale. This is for convenience more than anything so those of you with a traditional 4 string bass need not worry. Simply remove the top line of each scale and you have the scale across the four strings. It is also important to note that you only need 3 strings to play a scale within a box shape so don’t panic about not having a 5 string bass. Additionally, these are patterns so the major scale pattern works for all 12 musical keys. This makes learning the scales a much easier task. So now that we know how to make up the 3 positions, let’s take a quick look at the major scale as It appears in the book. As you can see from the diagram below, the two octaves are made up of pattern 1 up to the first octave and pattern 2 for the second. You can also see what intervals it uses, its pattern of tones and semitones, the Chord that is played over it and an alternate name. EDWARD ROGERS 15 THE BOOK OF BASS SCALES HOW TO PRACTICE SCALES Let’s now have a quick look at how to practice scales. To begin with I suggest practicing the scales ascending and then descending so that you can get used to the finger patterns. Try practicing the three patterns through one octave and then move up to two once you can do them without thinking. Another good way of learning and practicing scales is to play them in intervals. For example, the scale you see below is the major scale played in thirds. This means that after every note you play a third. I shall highlight the 3rds in this pattern: Root – 3rd – 2nd – 4th – 3rd – 5th – 4th – 6th etc. To simplify this play the Root of your scale. This is our first note (1). Now count up two notes and play the 3rd note of the scale (3). Now play the 2nd note of the scale (we shall call this number 1 again). Now count up two notes and play the 4th note of the scale (this is the 3rd interval from the 2nd note of the scale). Now continue this pattern up until you reach the octave of the scale. This method of practicing scales can be done all the way up to 7th intervals. I have provided the major scale in 3rds and 4ths both ascending and descending. I suggest getting some paper and working out the patterns for the scales yourselves. EDWARD ROGERS 16 THE BOOK OF BASS SCALES EDWARD ROGERS 17 THE BOOK OF BASS SCALES WESTERN SCALES EDWARD ROGERS 18 THE BOOK OF BASS SCALES MAJOR SCALE MODES Ionian (Major Scale) R-2-3-P4-P5-6-7 2-2-1-2-2-2-1 Major Dorian R-2-b3-P4-P5-6-b7 2-1-2-2-2-1-2 Minor Phrygian R-b2-b3-P4-P5-b6-b7 1-2-2-2-1-2-2 Minor Lydian R-2-3-#4-P5-6-7 2-2-2-1-2-2-1 Major Mixolydian R-2-3-P4-P5-6-b7 2-2-1-2-2-1-2 Dominant Aeolian (Minor Scale) R-2-b3-P4-P5-b6-b7 2-1-2-2-1-2-2 Minor Locrian R-b2-b3-P4-b5-b6-b7 1-2-2-1-2-2-2 Diminished EDWARD ROGERS 19 THE BOOK OF BASS SCALES MAJOR SCALE MODES – ALTERNATIVE Ionian (Major Scale) Dorian Phrygian Lydian Mixolydian Aeolian (Minor Scale) Locrian EDWARD ROGERS 20 THE BOOK OF BASS SCALES HARMONIC MAJOR SCALE MODES Harmonic Major (Ionian b6) R-2-3-P4-P5-b6-7 2-2-1-2-1-3-1 Major Dorian b5 R-2-b3-P4-b5-6-b7 2-1-2-1-3-1-2 Diminished Phrygian b4 R-b2-b3-b4-P5-b6-b7 1-2-1-3-1-2-2 Minor Lydian b3 R-2-b3-#4-P5-6-7 2-1-3-1-2-2-1 Minor Mixolydian b9 (Mixolydian b2) R-b2-3-P4-P5-6-b7 1-3-1-2-2-1-2 Dominant Lydian Augmented #2 (#2 + #5) R-#2-3-#4-#5-6-7 3-1-2-2-1-2-1 Augmented Locrian bb7 (Locrian Diminished 7) R-b2-b3-P4-b5-b6-bb7 1-2-2-1-2-1-3 Diminished EDWARD ROGERS 21 THE BOOK OF BASS SCALES HARMONIC MAJOR SCALE MODES – ALTERNATIVE Harmonic Major (Ionian b6) Dorian b5 Phrygian b4 Lydian b3 Mixolydian b9 (Mixolydian b2) Lydian Augmented #2 (#2 + #5) Locrian bb7 (Locrian Diminished 7) EDWARD ROGERS 22 THE BOOK OF BASS SCALES HARMONIC MINOR SCALE MODES Harmonic Minor (Aeolian #7) R-2-b3-P4-P5-b6-7 2-1-2-2-1-3-1 Minor Locrian #6 R-b2-b3-P4-b5-6-b7 1-2-2-1-3-1-2 Diminished Ionian #5 (Ionian Augmented) R-2-3-P4-#5-6-7 2-2-1-3-1-2-1 Augmented Dorian #4 (Romanian) R-2-b3-#4-P5-6-b7 2-1-3-1-2-1-2 Minor Phrygian #3 (Spanish Gypsy) R-b2-3-P4-P5-b6-b7 1-3-1-2-1-2-2 Dominant Lydian #2 R-#2-3-#4-P5-6-7 3-1-2-1-2-2-1 Major Mixolydian #R (Ultra Locrian) #R-2-3-P4-P5-6-b7 1-2-1-2-2-1-3 Diminished EDWARD ROGERS 23 THE BOOK OF BASS SCALES HARMONIC MINOR SCALE MODES – ALTERNATIVE Harmonic Minor (Aeolian #7) Locrian #6 Ionian #5 (Ionian Augmented) Dorian #4 (Romanian) Phrygian #3 (Spanish Gypsy) Lydian #2 Mixolydian #R (Ultra Locrian) EDWARD ROGERS 24 THE BOOK OF BASS SCALES MELODIC MINOR SCALE MODES Melodic Minor (Ionian b3) R-2-b3-P4-P5-6-7 2-1-2-2-2-2-1 Minor Dorian b2 R-b2-b3-P4-P5-6-b7 1-2-2-2-2-1-2 Minor Lydian Augmented (Phrygian b1) R-2-3-#4-#5-6-7 2-2-2-2-1-2-1 Augmented Lydian b7 (Overtone) R-2-3-#4-P5-6-b7 2-2-2-1-2-1-2 Dominant Mixolydian b6 (Hindu) R-2-3-P4-P5-b6-b7 2-2-1-2-1-2-2 Dominant Locrian #2 (Aeolian b5) R-2-b3-P4-b5-b6-b7 2-1-2-1-2-2-2 Diminished Super Locrian (Altered) R-b2-b3-b4-b5-b6-b7 1-2-1-2-2-2-2 Diminished EDWARD ROGERS 25 THE BOOK OF BASS SCALES MELODIC MINOR SCALE MODES – ALTERNATIVE Melodic Minor (Ionian b3) Dorian b2 Lydian Augmented (Phrygian b1) Lydian b7 (Overtone) Mixolydian b6 (Hindu) Locrian #2 (Aeolian b5) Super Locrian (Altered) EDWARD ROGERS 26 THE BOOK OF BASS SCALES IONIAN B5 MODES Ionian b5 R-2-3-P4-b5-6-7 2-2-1-1-3-2-1 Diminished Dorian b4 R-2-b3-b4-P5-6-b7 2-1-1-3-2-1-2 Minor Phrygian bb3 R-b2-bb3-P4-P5-b6-b7 1-1-3-2-1-2-2 Minor Lydian b2 R-b2-3-#4-P5-6-7 1-3-2-1-2-2-1 Major Super Lydian Augmented R-#2-P4-#4-#5-b7-7 3-2-1-2-2-1-1 Diminished Aeolian bb7 R-2-b3-P4-P5-b6-bb7 2-1-2-2-1-1-3 Minor Locrian bb6 R-b2-b3-P4-b5-bb6-b7 1-2-2-1-1-3-2 Diminished EDWARD ROGERS 27 THE BOOK OF BASS SCALES IONIAN B5 MODES – ALTERNATIVE Ionian b5 Dorian b4 Phrygian bb3 Lydian b2 Super Lydian Augmented Aeolian bb7 Locrian bb6 EDWARD ROGERS 28 THE BOOK OF BASS SCALES PENTATONIC BOX SHAPES Shape 1 (Minor) R-b3-P4-P5-b7 3-2-2-3-2 Shape 2 (Major/Mongolian) R-2-3-P5-6 2-2-3-2-3 Shape 3 (Egyptian) (Suspended Pentatonic) R-2-P4-P5-b7 2-3-2-3-2 Shape 4 (Man Gong) (Blues Minor) R-b3-P4-b6-b7 3-2-3-2-2 Shape 5 (Ritusen) (Blues Major) R-2-P4-P5-6 2-3-2-2-3 EDWARD ROGERS 29 THE BOOK OF BASS SCALES PENTATONIC BOX SHAPES – ALTERNATIVE Shape 1 (Minor) Shape 2 (Major/Mongolian) Shape 3 (Egyptian) (Suspended Pentatonic) Shape 4 (Man Gong) (Blues Minor) Shape 5 (Ritusen) (Blues Major) EDWARD ROGERS 30 THE BOOK OF BASS SCALES BLUES BOX SHAPES Shape 1 (Minor) R-b3-P4-b5-P5-b7 3-2-1-1-3-2 Shape 2 (Major) (Blues Dorian Hexatonic) R-2-b3-3-P5-6 2-1-1-3-2-3 Shape 3 R-b2-2-P4-P5-b7 1-1-3-2-3-2 Shape 4 R-b2-3-#4-6-7 1-3-2-3-2-1 Shape 5 R-b3-P4-b6-b7-7 3-2-3-2-1-1 Shape 6 R-2-P4-P5-b6-6 2-3-2-1-1-3 EDWARD ROGERS 31 THE BOOK OF BASS SCALES BLUES BOX SHAPES – ALTERNATIVE Shape 1 (Minor) Shape 2 (Major) (Blues Dorian Hexatonic) Shape 3 Shape 4 Shape 5 Shape 6 EDWARD ROGERS 32 THE BOOK OF BASS SCALES WHOLE TONE SCALE Whole Tone Scale R-2-3-#4-#5-b7 2-2-2-2-2-2 CHROMATIC SCALE Chromatic R-b2-2-b3-3-P4-b5-P5-b6-6-b7-7 1-1-1-1-1-1-1-1-1-1-1-1 AUGMENTED SCALE MODES Augmented R-#2-3-P5-b6-7 3-1-3-1-3-1 Augmented Inverse R-b2-3-P4-#5-6 1-3-1-3-1-3 DIMINISHED SCALE MODES Whole-Half Diminished R-2-b3-P4-b5-#5-6-7 2-1-2-1-2-1-2-1 Half-Whole Diminished (Octatonic) R-b2-b3-b4-b5-P5-6-b7 1-2-1-2-1-2-1-2 EDWARD ROGERS 33 THE BOOK OF BASS SCALES WHOLE TONE SCALE - ALTERNATIVE Whole Tone Scale CHROMATIC SCALE - ALTERNATIVE Augmented AUGMENTED SCALE MODES - ALTERNATIVE Augmented Augmented Inverse DIMINISHED SCALE MODES - ALTERNATIVE Whole-Half Diminished Half-Whole Diminished (Octatonic) EDWARD ROGERS 34 THE BOOK OF BASS SCALES TRITONE SCALE MODES Tritone R-b2-3-#4-P5-b7 1-3-2-1-3-2 Mode 2 R-b3-P4-b5-6-7 3-2-1-3-2-1 Mode 3 R-2-b3-#4-#5-6 2-1-3-2-1-3 EDWARD ROGERS 35 THE BOOK OF BASS SCALES TRITONE SCALE MODES - ALTERNATIVE Tritone Mode 2 Mode 3 EDWARD ROGERS 36 THE BOOK OF BASS SCALES EDWARD ROGERS 37 THE BOOK OF BASS SCALES EXOTIC SCALES EDWARD ROGERS 38 THE BOOK OF BASS SCALES PERSIAN SCALE MODES Persian R-b2-3-P4-b5-b6-7 1-3-1-1-2-3-1 Ionian #2 #6 R-#2-3-P4-P5-#6-7 3-1-1-2-3-1-1 Chromatic Phrygian Inverse R-b2-bb3-b4-P5-b6-bb7 1-1-2-3-1-1-3 Todi R-b2-b3-#4-P5-b6-7 1-2-3-1-1-3-1 Chromatic Mixolydian Inverse R-2-#3-#4-P5-#6-7 2-3-1-1-3-1-1 Chromatic Hypodorian Inverse R-#2-3-P4-#5-6-b7 3-1-1-3-1-1-2 Chromatic Hypophrygian Inverse R-b2-bb3-P4-b5-bb6-bb7 1-1-3-1-1-2-3 EDWARD ROGERS 39 THE BOOK OF BASS SCALES PERSIAN SCALE MODES – ALTERNATIVE Persian Ionian #2 #6 Chromatic Phrygian Inverse Todi Chromatic Mixolydian Inverse Chromatic Hypodorian Inverse Chromatic Hypophrygian Inverse EDWARD ROGERS 40 THE BOOK OF BASS SCALES HUNGARIAN MAJOR MODES Hungarian Major R-#2-3-#4-P5-6-b7 3-1-2-1-2-1-2 Alt bb6 bb7 R-b2-b3-b4-b5-bb6-bb7 1-2-1-2-1-2-3 Locrian Natural 2 7 (Harmonic Minor b5) R-2-b3-P4-b5-b6-7 2-1-2-1-2-3-1 Alt Natural 6 (Superlocrian #6) R-b2-b3-b4-b5-6-b7 1-2-1-2-3-1-2 Melodic Augmented (Jazz Minor #5) R-2-b3-P4-#5-6-7 2-1-2-3-1-2-1 Dorian b2 #4 R-b2-b3-#4-P5-6-b7 1-2-3-1-2-1-2 Lydian Augmented #3 R-2-#3-#4-#5-6-7 2-3-1-2-1-2-1 EDWARD ROGERS 41 THE BOOK OF BASS SCALES HUNGARIAN MAJOR MODES – ALTERNATIVE Hungarian Major Alt bb6 bb7 Locrian Natural 2+7 (Harmonic Minor b5) Alt Natural 6 (Superlocrian #6) Melodic Augmented (Jazz Minor #5) Dorian b2 #4 Lydian Augmented #3 EDWARD ROGERS 42 THE BOOK OF BASS SCALES HUNGARIAN MINOR MODES Hungarian Minor (Algerian) R-2-b3-#4-P5-b6-7 2-1-3-1-1-3-1 Oriental R-b2-3-P4-b5-6-b7 1-3-1-1-3-1-2 Ionian Augmented #2 R-#2-3-P4-#5-6-7 3-1-1-3-1-2-1 Locrian bb3 bb7 R-b2-bb3-P4-b5-b6-bb7 1-1-3-1-2-1-3 Double Harmonic Major R-b2-3-P4-P5-b6-7 1-3-1-2-1-3-1 Lydian #2 #6 R-#2-3-#4-P5-#6-7 3-1-2-1-3-1-1 Alt Natural 5 bb7 R-b2-b3-b4-P5-b6-bb7 1-2-1-3-1-1-3 EDWARD ROGERS 43 THE BOOK OF BASS SCALES HUNGARIAN MINOR MODES – ALTERNATIVE Hungarian Minor (Algerian) Oriental Ionian Augmented #2 Locrian bb3 bb7 Double Harmonic Major Lydian #2 #6 Alt Natural 5 bb7 EDWARD ROGERS 44 THE BOOK OF BASS SCALES ENIGMATIC MAJOR MODES Enigmatic Major R-b2-3-#4-#5-#6-7 1-3-2-2-2-1-1 Chr Hypophrygian ##4 ##5 R-#2-#3-##4-##5-#6-7 3-2-2-2-1-1-1 Lydian b6 bb7 R-2-3-#4-P5-b6-bb7 2-2-2-1-1-1-3 Arabian bb6 R-2-3-P4-b5-bb6-b7 2-2-1-1-1-3-2 Aeolian b4 bb5 R-2-b3-b4-bb5-b6-b7 2-1-1-1-3-2-2 Locrian bb3 bb4 R-b2-bb3-bb4-b5-b6-b7 1-1-1-3-2-2-2 Ionian b2 bb3 R-b2-bb3-P4-P5-6-7 1-1-3-2-2-2-1 EDWARD ROGERS 45 THE BOOK OF BASS SCALES ENIGMATIC MAJOR MODES – ALTERNATIVE Enigmatic Major Chr Hypophrygian ##4 ##5 Lydian b6 bb7 Arabian bb6 Aeolian b4 bb5 Locrian bb3 bb4 Ionian b2 bb3 EDWARD ROGERS 46 THE BOOK OF BASS SCALES ENIGMATIC MINOR MODES Enigmatic Minor R-b2-b3-#4-P5-#6-7 1-2-3-1-3-1-1 Chromatic Mixolydian Inverse ##5 R-2-#3-#4-##5-#6-7 2-3-1-3-1-1-1 Chromatic Hypodorian Inverse ##4 R-#2-3-##4-#5-6-b7 3-1-3-1-1-1-2 Chromatic Hypodorian Inverse 3 R-b2-3-P4-b5-bb6-bb7 1-3-1-1-1-2-3 Arabian #2 7 R-#2-3-P4-b5-b6-7 3-1-1-1-2-3-1 Chromatic Dorian bb4 bb5 R-b2-bb3-bb4-bb5-b6-bb7 1-1-1-2-3-1-3 Chromatic Dorian 7 R-b2-bb3-b4-P5-b6-7 1-1-2-3-1-3-1 EDWARD ROGERS 47 THE BOOK OF BASS SCALES ENIGMATIC MINOR MODES – ALTERNATIVE Enigmatic Minor Chromatic Mixolydian Inverse ##5 Chromatic Hypodorian Inverse ##4 Chromatic Hypodorian Inverse 3 Arabian #2 7 Chromatic Dorian bb4 bb5 Chromatic Dorian 7 EDWARD ROGERS 48 THE BOOK OF BASS SCALES NEAPOLITAN MAJOR MODES Neapolitan Major R-b2-b3-P4-P5-6-7 1-2-2-2-2-2-1 Lydian #5 #6 (Leading Whole Tone) R-2-3-#4-#5-#6-7 2-2-2-2-2-1-1 Mixolydian #5 #11 (Lydian dominant Augmented) R-2-3-#4-#5-6-b7 2-2-2-2-1-1-2 Mixolydian #11 b13 (Lydian b6 b7) (Lydian Minor) R-2-3-#4-P5-b6-b7 2-2-2-1-1-2-2 Arabian (Major Locrian) R-2-3-P4-b5-b6-b7 2-2-1-1-2-2-2 Locrian Nat 2 b4 (Half Diminished b4) R-2-b3-b4-b5-b6-b7 2-1-1-2-2-2-2 Superlocrian bb3 R-b2-bb3-b4-b5-b6-b7 1-1-2-2-2-2-2 EDWARD ROGERS 49 THE BOOK OF BASS SCALES NEAPOLITAN MAJOR MODES – ALTERNATIVE Neapolitan Major Lydian #5 #6 (Leading Whole Tone) Mixolydian #5 #11 (Lydian dominant Augmented) Mixolydian #11 b13 (Lydian b6 b7) (Lydian Minor) Arabian (Major Locrian) Locrian Nat 2 b4 (Half Diminished b4) Superlocrian bb3 EDWARD ROGERS 50 THE BOOK OF BASS SCALES NEAPOLITAN MINOR MODES Neapolitan Minor R-b2-b3-P4-P5-b6-7 1-2-2-2-1-3-1 Lydian #6 R-2-3-#4-P5-#6-7 2-2-2-1-3-1-1 Mixolydian #5 (Mixolydian Augmented) R-2-3-P4-#5-6-b7 2-2-1-3-1-1-2 Aeolian #4 (Hungarian Gypsy) R-2-b3-#4-P5-b6-b7 2-1-3-1-1-2-2 Locrian Nat 3 (Locrian Dominant) R-b2-3-P4-b5-b6-b7 1-3-1-1-2-2-2 Ionian #2 R-#2-3-P4-P5-6-7 3-1-1-2-2-2-1 Ultra Locrian bb3 R-b2-bb3-b4-b5-b6-bb7 1-1-2-2-2-1-3 EDWARD ROGERS 51 THE BOOK OF BASS SCALES NEAPOLITAN MINOR MODES – ALTERNATIVE Neapolitan Minor Lydian #6 Mixolydian #5 (Mixolydian Augmented) Aeolian #4 (Hungarian Gypsy) Locrian Nat 3 (Locrian Dominant) Ionian #2 Ultra Locrian bb3 EDWARD ROGERS 52 THE BOOK OF BASS SCALES DHENUKA SCALE MODES Dhenuka R-b2-b3-P4-b5-6-7 1-2-2-1-3-2-1 Ionian #5 #6 R-2-3-P4-#5-#6-7 2-2-1-3-2-1-1 Dorian Augmented #4 R-2-b3-#4-#5-6-b7 2-1-3-2-1-1-2 Phrygian Nat 3 #4 R-b2-3-#4-P5-b6-b7 1-3-2-1-1-2-2 Lydian #2 #3 R-#2-#3-#4-P5-6-7 3-2-1-1-2-2-1 Ultra Locrian Nat 2 R-2-b3-b4-b5-b6-bb7 2-1-1-2-2-1-3 Chromatic Mixolydian b4 R-b2-bb3-b4-b5-bb6-b7 1-1-2-2-1-3-2 EDWARD ROGERS 53 THE BOOK OF BASS SCALES DHENUKA SCALE MODES – ALTERNATIVE Dhenuka Ionian #5 #6 Dorian Augmented #4 Phrygian Nat 3 #4 Lydian #2 #3 Ultra Locrian Nat 2 Chromatic Mixolydian b4 EDWARD ROGERS 54 THE BOOK OF BASS SCALES SAMBAH SCALE MODES Sambah R-2-b3-b4-P5-b6-b7 2-1-1-3-1-2-2 Locrian bb3 R-b2-bb3-P4-b5-b6-b7 1-1-3-1-2-2-2 Raga Supradhipam (Ionian b2) R-b2-3-P4-P5-6-7 1-3-1-2-2-2-1 Lydian augmented #2 #6 R-#2-3-#4-#5-#6-7 3-1-2-2-2-1-1 Malini R-b2-b3-P4-P5-b6-bb7 1-2-2-2-1-1-3 Mela Latangi R-2-3-#4-P5-b6-7 2-2-2-1-1-3-1 Ionian b5 b7 R-2-3-P4-b5-6-b7 2-2-1-1-3-1-2 EDWARD ROGERS 55 THE BOOK OF BASS SCALES SAMBAH SCALE MODES – ALTERNATIVE Sambah Locrian bb3 Raga Supradhipam (Ionian b2) Lydian augmented #2 #6 Malini Mela Latangi Ionian b5 b7 EDWARD ROGERS 56 THE BOOK OF BASS SCALES BLUES MODIFIED SCALE MODES Blues Modified R-2-b3-P4-b5-bb6-b7 2-1-2-1-1-3-2 Ravel bb5 R-b2-b3-b4-bb5-b6-b7 1-2-1-1-3-2-2 Jazz Minor b4 R-2-b3-b4-P5-6-7 2-1-1-3-2-2-1 Dorian b2 bb3 R-b2-bb3-P4-P5-6-b7 1-1-3-2-2-1-2 Lydian Augmented b2 R-b2-3-#4-#5-6-7 1-3-2-2-1-2-1 Super Lydian Augmented ##4 R-#2-#3-##4-#5-#6-7 3-2-2-1-2-1-1 Hindu bb7 R-2-3-P4-P5-b6-bb7 2-2-1-2-1-1-3 EDWARD ROGERS 57 THE BOOK OF BASS SCALES BLUES MODIFIED SCALE MODES – ALTERNATIVE Blues Modified Ravel bb5 Jazz Minor b4 Dorian b2 bb3 Lydian Augmented b2 Super Lydian Augmented ##4 Hindu bb7 EDWARD ROGERS 58 THE BOOK OF BASS SCALES VERDIS ENIGMATIC SCALE MODES Verdis Enigmatic R-b2-3-P4-#5-#6-7 1-3-1-3-2-1-1 Chromatic Phrygian ##4 ##5 R-#2-3-##4-##5-#6-7 3-1-3-2-1-1-1 Mela Dhavalam Bari R-b2-3-#4-P5-b6-bb7 1-3-2-1-1-1-3 Chromatic Hypophrygian b6 R-#2-#3-#4-P5-b6-7 3-2-1-1-1-3-1 Persian #2 bb7 R-2-b3-b4-bb5-b6-bb7 2-1-1-1-3-1-3 Locrian bb3 bb4 bb6 R-b2-bb3-bb4-b5-bb6-b7 1-1-1-3-1-3-2 Chromatic Mixolydian 67 R-b2-bb3-P4-b5-6-7 1-1-3-1-3-2-1 EDWARD ROGERS 59 THE BOOK OF BASS SCALES VERDIS ENIGMATIC SCALE MODES – ALTERNATIVE Verdis Enigmatic Chromatic Phrygian ##4 ##5 Mela Dhavalam Bari Chromatic Hypophrygian b6 Persian #2 bb7 Locrian bb3 bb4 bb6 Chromatic Mixolydian 6 7 EDWARD ROGERS 60 THE BOOK OF BASS SCALES COMPOSITE II MODES Composite II R-b2-3-#4-P5-b6-7 1-3-2-1-1-3-1 Mode 2 R-#2-#3-#4-P5-#6-7 3-2-1-1-3-1-1 Mode 3 R-2-b3-b4-P5-b6-bb7 2-1-1-3-1-1-3 Mode 4 R-b2-bb3-P4-b5-bb6-b7 1-1-3-1-1-3-2 Chromatic Lydian R-b2-3-P4-b5-6-7 1-3-1-1-3-2-1 Chromatic Phrygian R-#2-3-P4-#5-#6-7 3-1-1-3-2-1-1 Mode 7 R-b2-bb3-P4-P5-b6-bb7 1-1-3-2-1-1-3 EDWARD ROGERS 61 THE BOOK OF BASS SCALES COMPOSITE II MODES – ALTERNATIVE Composite II Mode 2 Mode 3 Mode 4 Chromatic Lydian Chromatic Phrygian Mode 7 EDWARD ROGERS 62 THE BOOK OF BASS SCALES BEBOP SCALE MODES Bebop Major R-2-3-P4-P5-b6-6-7 2-2-1-2-1-1-2-1 Dorian Blues R-2-b3-P4-b5-P5-6-b7 2-1-2-1-1-2-1-2 Bebop Phrygian R-b2-b3-3-P4-P5-b6-7 1-2-1-1-2-1-2-2 Bebop Lydian Minor R-2-b3-b4-#4-P5-6-7 2-1-1-2-1-2-2-1 Mixolydian + b9 R-b2-2-3-P4-P5-6-b7 1-1-2-1-2-2-1-2 Bebop Diminished Minor R-b2-b3-3-#4-#5-6-7 1-2-1-2-2-1-2-1 Bebop Harmonic Minor (Raga Suha) R-2-b3-P4-P5-b6-b7-7 2-1-2-2-1-2-1-1 Bebop Locrian Diminished R-b2-b3-P4-b5-b6-6-b7 1-2-2-1-2-1-1-2 EDWARD ROGERS 63 THE BOOK OF BASS SCALES BEBOP SCALE MODES – ALTERNATIVE Bebop Major Dorian Blues Bebop Phrygian Bebop Lydian Minor Mixolydian + b9 Bebop Diminished Minor Bebop Harmonic Minor (Raga Suha) Bebop Locrian Diminished EDWARD ROGERS 64 THE BOOK OF BASS SCALES BEBOP DOMINANT SCALE MODES Bebop Dominant (Mixolydian + 7) R-2-3-P4-P5-6-b7-7 2-2-1-2-2-1-1-1 Bebop Minor (Aeolian + 6) R-2-b3-P4-P5-b6-6-b7 2-1-2-2-1-1-1-2 Bebop Locrian +5 (Locrian + 5) R-b2-b3-P4-b5-P5-b6-b7 1-2-2-1-1-1-2-2 Lydionian (Ionian + #4) R-2-3-P4-b5-P5-6-7 2-2-1-1-1-2-2-1 Mixodorian (Dorian + 3) R-2-b3-3-P4-P5-6-b7 2-1-1-1-2-2-1-2 Phrygiolian (Phrygian + 2) R-b2-2-b3-P4-P5-b6-b7 1-1-1-2-2-1-2-2 Lydiocrian (Lydian + b2) R-b2-2-3-#4-P5-6-7 1-1-2-2-1-2-2-1 Locrydian (Locrian + 7) R-b2-b3-P4-b5-b6-b7-7 1-2-2-1-2-2-1-1 EDWARD ROGERS 65 THE BOOK OF BASS SCALES BEBOP DOMINANT SCALE MODES – ALTERNATIVE Bebop Dominant (Mixolydian + 7) Bebop Minor (Aeolian + 6) Bebop Locrian +5 (Locrian + 5) Lydionian (Ionian + #4) Mixodorian (Dorian + 3) Phrygiolian (Phrygian + 2) Lydiocrian (Lydian + b2) Locrydian (Locrian + 7) EDWARD ROGERS 66 THE BOOK OF BASS SCALES BEBOP DORIAN SCALE MODES Bebop Dorian R-2-#2-3-P4-P5-6-b7 2-1-1-1-2-2-1-2 Mode 2 R-b2-2-b3-3-P4-P5-b6-b7 1-1-1-2-2-1-2-2 Mode 3 R-b2-2-3-#4-P5-6-7 1-1-2-2-1-2-2-1 Mode 4 R-b2-b3-P4-b5-b6-b7-7 1-2-2-1-2-2-1-1 Mode 5 R-2-3-P4-P5-6-b7-7 2-2-1-2-2-1-1-1 Mode 6 R-2-b3-P4-P5-b6-6-b7 2-1-2-2-1-1-1-2 Mode 7 R-b2-b3-P4-#4-P5-b6-b7 1-2-2-1-1-1-2-2 Mode 8 R-2-3-P4-#4-P5-6-7 2-2-1-1-1-2-2-1 EDWARD ROGERS 67 THE BOOK OF BASS SCALES BEBOP DORIAN SCALE MODES – ALTERNATIVE Bebop Dorian Mode 2 Mode 3 Mode 4 Mode 5 Mode 6 Mode 7 Mode 8 EDWARD ROGERS 68 THE BOOK OF BASS SCALES BEBOP LOCRIAN NAT 2 SCALE MODES Bebop Locrian natural 2 R-2-b3-P4-b5-b6-b7-7 2-1-2-1-2-2-1-1 Mode 2 R-b2-b3-3-#4-#5-6-b7 1-2-1-2-2-1-1-2 Mode 3 R-2-b3-P4-P5-#5-6-7 2-1-2-2-1-1-2-1 Mode 4 R-b2-b3-P4-#4-P5-6-b7 1-2-2-1-1-2-1-2 Mode 5 R-2-3-P4-b5-#5-6-7 2-2-1-1-2-1-2-1 Mode 6 R-2-b3-3-#4-P5-6-b7 2-1-1-2-1-2-1-2 Mode 7 R-b2-2-3-P4-P5-b6-b7 1-1-2-1-2-1-2-2 Mode 8 R-b2-b3-3-#4-P5-6-7 1-2-1-2-1-2-2-1 EDWARD ROGERS 69 THE BOOK OF BASS SCALES BEBOP LOCRIAN N2 SCALE MODES – ALTERNATIVE Bebop Locrian Natural 2 Mode 2 Mode 3 Mode 4 Mode 5 Mode 6 Mode 7 Mode 8 EDWARD ROGERS 70 THE BOOK OF BASS SCALES LOCRIAN NATURAL 7 MODES Locrian Nat 7 R-b2-b3-P4-b5-b6-7 1-2-2-1-2-3-1 Ionian #6 R-2-3-P4-P5-#6-7 2-2-1-2-3-1-1 Dorian Augmented R-2-b3-P4-#5-6-b7 2-1-2-3-1-1-2 Phrygian #4 R-b2-b3-#4-P5-b6-b7 1-2-3-1-1-2-2 Lydian #3 R-2-#3-#4-P5-6-7 2-3-1-1-2-2-1 Dominant #2 R-#2-3-P4-P5-6-b7 3-1-1-2-2-1-2 Altered Altered R-b2-bb3-3-b5-bb6-bb7 1-1-2-2-1-2-3 EDWARD ROGERS 71 THE BOOK OF BASS SCALES LOCRIAN NAT 7 MODES – ALTERNATIVE Locrian Nat 7 Ionian #6 Dorian Augmented Phrygian #4 Lydian #3 Dominant #2 Altered Altered EDWARD ROGERS 72 THE BOOK OF BASS SCALES 8 TONE SPANISH SCALE MODES 8 Tone Spanish R-b2-b3-3-P4-b5-b6-b7 1-2-1-1-1-2-2-2 Bebop Ionian Minor R-2-#2-3-P4-P5-6-7 2-1-1-1-2-2-2-1 Bebop Double Dorian (Adonai Malakh) R-b2-2-b3-P4-P5-6-b7 1-1-1-2-2-2-1-2 Lydian Augmented + b9 R-b2-2-3-#4-#5-6-7 1-1-2-2-2-1-2-1 Bebop Phrygian Diminished R-b2-b3-P4-P5-b6-b7-7 1-2-2-2-1-2-1-1 Bebop Lydian Dominant R-2-3-#4-P5-6-b7-7 2-2-2-1-2-1-1-1 Bebop Mixolydian Aug R-2-3-P4-P5-#5-6-b7 2-2-1-2-1-1-1-2 Aeolian Blues R-2-b3-P4-#4-P5-b6-b7 2-1-2-1-1-1-2-2 EDWARD ROGERS 73 THE BOOK OF BASS SCALES 8 TONE SPANISH SCALE MODES – ALTERNATIVE 8 Tone Spanish Bebop Ionian Minor Bebop Double Dorian (Adonai Malakh) Lydian Augmented + b9 Bebop Phrygian Diminished Bebop Lydian Dominant Bebop Mixolydian Aug Aeolian Blues EDWARD ROGERS 74 THE BOOK OF BASS SCALES HIRAJOSHI SCALE MODES Hirajoshi R-2-b3-P5-b6 2-1-4-1-4 Iwato R-b2-P4-b5-b7 1-4-1-4-2 Hindolita (Raga Bhinna Shadja) R-3-P4-6-7 4-1-4-2-1 Japanese Pentatonic R-b2-P4-P5-b6 1-4-2-1-4 Raga Malashri R-3-#4-P5-7 4-2-1-4-1 EDWARD ROGERS 75 THE BOOK OF BASS SCALES HIROJOSHI SCALE MODES – ALTERNATIVE Hirajoshi Iwato Hindolita (Raga Bhinna Shadja) Japanese Pentatonic Raga Malashri EDWARD ROGERS 76 THE BOOK OF BASS SCALES PELOG SCALE MODES Pelog Scale (Balinese) R-b2-b3-P5-b6 1-2-4-1-4 Raga Vaijayanti R-2-#4-P5-7 2-4-1-4-1 Raga Khamaji Durga R-3-P4-6-b7 4-1-4-1-2 Mode 4 R-b2-P4-b5-b6 1-4-1-2-4 Ionian Pentatonic (Raga Gambhiranata) R-3-P4-P5-7 4-1-2-4-1 EDWARD ROGERS 77 THE BOOK OF BASS SCALES PELOG SCALE MODES – ALTERNATIVE Pelog Scale (Balinese) Raga Vaijayanti Raga Khamaji Durga Mode 4 Ionian Pentatonic (Rage Gambhiranata) EDWARD ROGERS 78 THE BOOK OF BASS SCALES DOMINANT SUS SCALE MODES Dominant sus R-2-P4-P5-6-b7 2-3-2-2-1-2 Phrygian Hexatonic R-b3-P4-P5-b6-b7 3-2-2-1-2-2 Scottish Hexatonic R-2-3-P4-P5-6 2-2-1-2-2-3 Minor Hexatonic R-2-b3-P4-P5-b7 2-1-2-2-3-2 Ritsu R-b2-b3-P4-b6-b7 1-2-2-3-2-2 Lydian Hexatonic R-2-3-P5-6-7 2-2-3-2-2-1 EDWARD ROGERS 79 THE BOOK OF BASS SCALES DOMINANT SUS SCALE MODES – ALTERNATIVE Dominant sus Phrygian Hexatonic Scottish Hexatonic Minor Hexatonic Ritsu Lydian Hexatonic EDWARD ROGERS 80 THE BOOK OF BASS SCALES KUMOI SCALE MODES Kumoi R-2-b3-P5-6 2-1-4-2-3 In Sen R-b2-P4-P5-b7 1-4-2-3-2 Raga Hindol R-3-#4-6-7 4-2-3-2-1 Han Kumoi R-2-P4-P5-b6 2-3-2-1-4 Raga Jayakauns R-b3-P4-b5-b7 3-2-1-4-2 EDWARD ROGERS 81 THE BOOK OF BASS SCALES KUMOI SCALE MODES – ALTERNATIVE Kumoi In Sen Raga Hindol Han Kumoi Raga Jayakauns EDWARD ROGERS 82 THE BOOK OF BASS SCALES PROMETHEUS SCALE MODES Prometheus R-2-3-#4-6-b7 2-2-2-3-1-2 Mode 2 R-2-3-P5-b6-b7 2-2-3-1-2-2 Mode 3 R-2-P4-b5-b6-b7 2-3-1-2-2-2 Mode 4 R-#2-3-#4-#5-b7 3-1-2-2-2-2 Mode 5 R-b2-b3-P4-P5-6 1-2-2-2-2-3 Mode 6 R-2-3-#4-#5-7 2-2-2-2-3-1 EDWARD ROGERS 83 THE BOOK OF BASS SCALES PROMETHEUS SCALE MODES – ALTERNATIVE Prometheus Mode 2 Mode 3 Mode 4 Mode 5 Mode 6 EDWARD ROGERS 84 THE BOOK OF BASS SCALES DOMINANT PENTATONIC MODES Dominant Pentatonic R-2-3-P5-b7 2-2-3-3-2 Chaio R-2-P4-#5-b7 2-3-3-2-2 Raga Harikauns R-b3-#4-#5-b7 3-3-2-2-2 Mode 4 R-b3-P4-P5-6 3-2-2-2-3 Kung R-2-3-#4-6 2-2-2-3-3 EDWARD ROGERS 85 THE BOOK OF BASS SCALES DOMINANT PENTATONIC MODES – ALTERNATIVE Dominant Pentatonic Chaio Raga Harikauns Mode 4 Kung EDWARD ROGERS 86 THE BOOK OF BASS SCALES
