Book 2 Part 1

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MARTYNKRÜGEL’S

BASSMANUAL

Book 2: Natural Minor Keys

FREE ELECTRONIC PDF VERSION 1.2

NOT FOR SALE This is a COMPLIMENTARY Internet e-book

First draft completed 2007 – Revised and updated 2008 – Version 1.2 updated for 2010

Copyright © by Martyn Krügel 2007 onwards

All Rights Reserved – The moral right of the author has been asserted

This PDF file was created as an additional educational aid for students of the bass guitar.

The content, structure, format, analysis, design, artwork, photographs, methodology and model, remains the property of Martyn Krügel.

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FOREWORDWelcome to this the second installment in my Bass Manual Series. In this book you will be shown how theNatural Minor Keys are applied on the bass guitar.

To begin with – I must point out that it’s important to note that the first book of this series that deals with themajor keys lays the groundwork and is the basis for all the other books in this series. The chronological order ofthe seven books in this series (as presented) is not necessarily the order that you need to work through thesebooks – with the exception of the first book that deals with the major keys that must be done first. Once youhave a thorough understanding of the major keys and can play in the major keys you can then carry on at yourown discretion. I suggest that you work through the series in the following order and I’ll also divide my order intotwo groups and then explain why:

1) Book 1: Major Keys (Must start with this book – Not Negotiable)2) Book 5: Chords3) Book 6: Modes4) Book 7: Pentatonic

5) Book 2: Natural Minor Keys

6) Book 3: Harmonic Minor Keys7) Book 4: Melodic Minor Keys

The reason for dividing the above order into these two groups is simply because in practice (the actual playingthat we do and are required to do – so it is also out of necessity) we predominantly utilize and relate and focuson the subject matter of the four books in the first group. It is absolutely essential to have a very goodunderstanding of the subject matter in these four books. The second group in the above order deals with theminor keys and the minor keys are often neglected by musicians (I can confess that I am guilty of this too and Ioften refer to these three books myself) but we must strive to learn these keys properly.

When you have a look at this book you will notice that I have extracted a couple of important points alreadymentioned in the first book and that is only because it is worth repeating.

Well, I hope my Bass Manual Series will be of some benefit to you and good luck with your musical endeavors.

Regards,

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CONTENTS part one

INTRODUCTIONRelative Major and Minor Keys – The Natural Minor Scale Patterns –

Comments on Technique – A Final WordPg. 5

Chapter 1 THE KEY OF A MINOR

The Notes

The Bass Fingerboard

The Natural Minor Scale Patterns

Intervals

Harmony: The Scale Tone Chords

(triads)

Further Harmonization of the ScaleTone Chords

Pg. 10

Chapter 2 THE KEY OF E MINOR Pg. 19

Chapter 3 THE KEY OF B MINOR Pg. 28

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INTRODUCTION

Relative Major and Minor KeysIn book 1 of this series that deals with the major keys the student was advised to spend a considerable amountof time learning the application of the major keys on the bass and to gain a thorough understanding of the majorkeys. Now in book 2 that deals with the natural minor keys we will use the same methodology that we used inunderstanding the major keys but the practical application of the natural minor keys are a little easier becausewe have already actually played the minor keys when we did the major keys. The whole process – provided youknow your major keys – will in reality be a lot easier.

By starting on the sixth degree of the major scale the natural minor scale is produced so it is actually just a shiftthat occurs in that the sixth degree of every major key will now become our starting point (Key Tonality) in theformation of the new natural minor key. The minor key that is formed by starting on the sixth degree of a majorkey is called the relative minor key of that major key and the two relative keys will share the exact same notesand key signature. For example: The relative minor key of C Major will be the key A Minor (A is the 6

thdegree

in C Major) and the relative minor key of G Major will be the key E Minor (E is the 6th

degree in G Major) and soforth. Below is a table with all the relative major and minor keys. The chapters in this book will also correspondwith the chapters in book 1 in terms of the relative major and minor keys:

Book 1: Major Keys

Book 2: Natural

Minor KeysChapter 1 C Major A MinorChapter 2 G Major E MinorChapter 3 D Major B MinorChapter 4 A Major F# MinorChapter 5 E Major C# MinorChapter 6 B Major G# MinorChapter 7 F# Major D# MinorChapter 8 C# Major A# MinorChapter 9 F Major D MinorChapter 10 Bb Major G MinorChapter 11 Eb Major C MinorChapter 12 Ab Major F Minor

Chapter 13 Db Major Bb MinorChapter 14 Gb Major Eb MinorChapter 15 Cb Major Ab Minor

The Natural Minor Scale PatternsIn this book 2 of the series we will now see how the natural minor keys are applied on the bass. Since we willbe using the same methodology that we used in book 1 we will now have natural minor scale patterns that willcover the bass fingerboard utilizing the exact same principal that we used in book 1, but now applying it to thenatural minor keys. Here we will also have three patterns starting with the root note on the top string and thesepatterns will also cover the fingerboard to the left, in the center and to the right. And again we will also havethree almost identical patterns but with the root note or starting point on the second string and then finally andas always, the single string pattern that can and must be played on all four strings. But remember, if you have adecent understanding of the major keys and the application thereof the information given here will be purely amatter of principal and more easily understood since the bulk of the work was already done in the major keys.

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[The numerical value indicates the sequential order of the pattern and also represents the numerical value of the naturalminor scale. The diagrams here and throughout the series illustrate your viewpoint when you’re holding the bass].

The three natural minor scale patterns with the root note on the TOP STRING:

Pattern to the Left Pattern in the Center Pattern to the Right

The three natural minor scale patterns with the root note on the SECOND STRING:


The single string natural minor scale pattern with the root note on ALL FOUR STRINGS:

Single String Pattern

Note: The numeric values used in any other scale will always be determined relative to the numeric value of themajor scale of the same root note (starting point). Comparing the numeric value of the A Major Scale to thenumeric value of the A Natural Minor Scale for example, you will notice that the third degree in the natural

minor scale has the numeric value b3 (flat three or flattened third) because in the A Natural Minor Scale thenote C is a natural note and in the A Major Scale the note is a C#. The same occurs at the 6

thand 7

thdegrees

of the natural minor scale. Observe the numeric values in the following two examples:

A MAJOR Scale A B C# D E F# G#

Numeric Value 1 2 3 4 5 6 7

A MINOR Scale A B C D E F G

Numeric Value 1 2 b3 4 5 b6 b7

C MAJOR Scale C D E F G A B

Numeric Value 1 2 3 4 5 6 7

C MINOR Scale C D Eb F G Ab Bb

Numeric Value 1 2 b3 4 5 b6 b7

Now, when we take these natural minor scale patterns and we LINK them over the fingerboard – it will forma kind of ‘NATURAL MINOR SCALE OR MINOR KEY ROADMAP’ across the entire surface of thefingerboard in which you can then play and improvise – once learned. It is important that you know yourinstrument well and learn to play all over the fingerboard in a particular key. Movement across the

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fingerboard of your instrument is absolutely essential and should be a natural part of your playing ability andthe single string pattern will assist you in doing this and in playing these patterns in a ‘linked’ manner.

What is interesting is that the above minor scale patterns remain exactly the same in form (the PATTERN that you visualize and memorize) when applied to any other minor key. To play in any other minor key willonly depend on the starting note of the pattern also called the root note. For example: Starting on the B note and imitating the above minor scale patterns would produce the B MINOR SCALE that then againproduces the KEY OF B MINOR when all the patterns starting on the note B are linked. Starting on the F

note and imitating the above patterns would produce the F MINOR SCALE that then again produces theKEY OF F MINOR when all the patterns starting on the note F are linked and so forth.

This means that when you’ve memorized these few set minor scale patterns mentally and technically(acquiring through regular practice the physical ability to play these minor scale patterns) you’ll be well onyour way to be able to play in any minor key ALL over the bass fingerboard.

Each and every ‘ROADMAP OF THE MINOR SCALE OR KEY’ produced by linking the natural minor scalepatterns, remains the same in visual form to any other individual minor key – a kind of mirror effect thattakes place. This incident occurs on instruments like the guitar and bass purely by their design, where the‘picture’ or pattern of one minor key looks exactly the same (visually) as the ‘picture’ or pattern of any other minor key. This repetition makes it just a little easier to learn the instrument. The subsequent notescalculated in a minor scale sequence from any given starting point will bring about that starting point’s minor

key. The starting point for example in the key of A MINOR will be the root note or key note A and thisstarting point is also called the KEY TONALITY. It is the position of the notes and their note names andtheir respective sounds that differentiate one key from the other.

And then finally concerning this topic, just bear in mind that the ability to play a pattern up and down fluentlyis not the music just yet (but it will be the first objective in terms of technique and in learning yourinstrument). When we think of music and the function of these patterns, it is best explained when weobserve the improvisational musician like a Jazz bassist who would create melodies, riffs, licks and musicalthemes spontaneously within these patterns by playing an assortment of different note selections andrhythmic variations around these patterns that has already been committed to memory. In other words, firstmemorize these patterns physically (technique) and then improvise around it. These patterns should bememorized visually in form, also numerically and it is also important that the note names of each particularminor scale are memorized as well. When you do all this practicing you will automatically train your ear andbegin to develop your aural sense and ability to hear the relationship of sounds – for example distinguishing

between the nuances of a major scale compared to that of a minor scale.

And please just keep in mind that if you have a thorough understanding of the major keys andthe application thereof the information given here will be purely a matter of principal and moreeasily understood since the bulk of the work was already done in the major keys. By startingon the sixth degree of the major key the natural minor scale is produced so it is actually just ashift that occurs in that the sixth degree of every major key will now become our starting point(Key Tonality) in the formation of the new natural minor key.

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Comments on TechniqueAs discussed in the introduction of book 1, I would just like to repeat again that the overall objective when youplay your instrument and practice the patterns and scales and so forth is to try and make it look like you’replaying the notes effortlessly or seamlessly and in a relaxed manner. You can now practice and play thesenatural minor scale patterns over and over as technical exercises to develop your strength and coordination andremember to stay relaxed. Over time your strength and the intensity (volume) with which you play the notes willincrease.

Once you have familiarized yourself with the first natural minor scale pattern that starts on the top string andcovers the fingerboard to the left and have determined the correct fingerings according to the section that dealswith Finger Articulation (as discussed in the introduction of book 1) and start practicing this pattern, yourfingers should more or less already be in position with the notes that come into play. Observe the followingsequence of photographs where I play that first natural minor scale pattern while striving for that economy ofmovement. [One photo for every degree of the pattern ascending and descending]:

1st

Degree 2n

Degree 3r

Degree 4t

Degree 5t

Degree

6t

Degree 7t

Degree 8t

Degree 9t

Degree 10t

Degree

9th

Degree 8th

Degree 7th

Degree 6th

Degree 5th

Degree

4t

Degree 3r

Degree 2n

Degree 1st

Degree

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A Final WordIn working through this book, what you as the student need to do is to apply the things that are shown to you.For example: When you see a section dealing with intervals and in that section it is stated that the notes A andC together produces a minor third interval, you must then take your bass and apply this and play these twonotes and listen and observe and say to yourself, okay, so this is a minor third interval and approach all theother topics in the same fashion. Forgive me for stating the obvious but keep in mind that one of your objectivesis to become technically adept at producing the things that you learn on your instrument and in order to do that,

you will have to commit yourself to the physical practicing of the instrument.

You will also observe when working through this book how each chapter is almost a carbon copy of the nextchapter except for the note names and their respective sounds and the different positions on the fingerboardthat changes with every different natural minor key. The student is advised to compare the chapters with oneanother to see and find the characteristics of the minor keys.

When you work slowly through the chapters in this book you will begin to conceptualize the application of theoryon your bass and with a little persistence and before you know it you’ll have an extensive music vocabulary or asort of information database that you can draw on when you play. Do not be put of by the jargon or terminologyused in the theory because as you gradually work through every chapter you will come to terms with theimportant things. Once you have grasped and worked through the first chapter of this book, every subsequentchapter will also be easier because you will basically be doing the same stuff. Your ability to hear things in amusical context will also develop and your ear will automatically catch-up with the things you are doing and thisfacility to hear things will begin to subconsciously dictate what you want or need to do. Observe thisphenomenon when it occurs and cultivate it further. When you work diligently through this book there will comea stage at some point when you’ll sit and practice and all of a sudden you’ll pick up a familiar tune and you’ll beable to play it or a close variation thereof. And then on another day you might be listening to one of your favoritetunes that’s maybe in the keys of B Minor and F# Minor and as a result of your ability to now play in those twokeys, you’ll be able to jam along with the music and improvise in these keys together with the tune or you will

just create your own tunes and play your own music. Once you have familiarized yourself with a couple ofconcepts things will quickly start to make sense.

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Chapter 1THE KEY OF A MINOR (Natural)

The NotesThe key of A MINOR (Natural) is derived from the A NATURAL MINOR SCALE. The notes of the ANATURAL MINOR SCALE may be presented as follows with a numerical value attributed to each note:

I II III IV V VI VIIA B C D E F G

1/8 2/9 b 3/b 10 4/11 5/12 b 6/b 13 b 7

In written musical form the A NATURAL MINOR SCALE is presented in this manner:

Treble Clef

Bass Clef

[NOTE: The focus here is not on reading music. The discipline of reading music will however be much easier to grasp oncethe basics of this series of books is understood and any aspiring musician should be urged to learn how to read music].

The Bass FingerboardOn the bass fingerboard the notes of the A NATURAL MINOR SCALE shows up as follows and yes, this is alsoall the natural notes on the fingerboard with the relative Major Key being C MAJOR:

When we take the various natural minor scale patterns and we LINK them over the fingerboard – it will form akind of ‘MINOR SCALE OR MINOR KEY ROADMAP’ and the subsequent reproduction of the above ‘picture’.So in order to memorize the above sequence of notes we will start by learning the individual minor scalepatterns as indicated in the following section. In this chapter of A MINOR the first note or root note of eachpattern will be the note A and when we link these natural minor scale patterns, we’ll get the above ‘picture’ of the key of A MINOR that covers the whole extent of the fingerboard.

The Natural Minor Scale PatternsThe three natural minor scale patterns with the root note on the TOP STRING:


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Intervals

I

A

A A A A A A A ⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩ B C D E F G A

Major secondinterval

Minor thirdinterval (b 3)

Perfect fourthinterval

Perfect fifthinterval

Minor sixthinterval

(b 6/ b 13)

Minorseventh

interval (b 7)Octave

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II

B

B B B B B B B

⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩ C D E F G A B

Minor secondinterval(b 2/ b 9)



Diminishedfifth interval

(b 5)

Minor sixthinterval

(b 6/ b 13)

Minorseventh


III

C

C C C C C C C

⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩ D E F G A B C


Major thirdinterval



Major sixthinterval

Majorseventhinterval

Octave

IV

D

D D D D D D D

⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩

E F G A B C D Major second

intervalMinor third

interval (b 3)Perfect fourth

intervalPerfect fifth

intervalMajor sixth

interval

Minorseventh

interval (b 7)

Octave

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V

E

E E E E E E E

⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩ F G A B C D E





Minor sixthinterval

(b 6/ b 13)

Minorseventh


VI

F

F F F F F F F

⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩ G A B C D E F


Major thirdinterval

Augmentedfourth interval

(# 4/ # 11)


Major sixthinterval


Octave

VII

G

G G G G G G G

⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩ A B C D E F G


Major thirdinterval



Major sixthinterval

Minorseventhinterval (b 7)

Octave

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Harmony: The Scale Tone Chords (triads)

I II III IV V VI VIIMinor chord

Diminishedchord

Major chord Minor chord Minor chord Major chord Major chord

1st A B C D E F G

3rd C D E F G A B5th E F G A B C D

I A Minor 1st A 3rd C (b 3) 5th E

II B Diminished 1st B 3rd D (b 3) 5th F (b 5)

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III C Major 1st

C 3rd

E 5th

G

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IV D Minor 1st D 3rd F (b 3) 5th A

V E Minor 1st E 3rd G (b 3) 5th B

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VI F Major 1st

F 3rd

A 5th

C

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VII G Major 1st G 3rd B 5th D

Further Harmonization of the Scale Tone Chords in A Minor (Natural)

I II III IV V VI VIIA MinorSeventh

B Minor Sevenflat Five

C MajorSeventh

D MinorSeventh

E MinorSeventh

F MajorSeventh

G7 (Seventh)

1st A B C D E F G3rd C D E F G A B

5th E F G A B C D7th G A B C D E F

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Chapter 2THE KEY OF E MINOR (Natural)

The NotesThe key of E MINOR (Natural) is derived from the E NATURAL MINOR SCALE. The notes of the E NATURAL

MINOR SCALE may be presented as follows with a numerical value attributed to each note:

I II III IV V VI VIIE F# G A B C D

1/8 2/9 b 3/b 10 4/11 5/12 b 6/b 13 b 7

In written musical form the E NATURAL MINOR SCALE is presented in this manner:

Treble Clef

Bass Clef

The Bass FingerboardOn the bass fingerboard the notes of the E NATURAL MINOR SCALE show up as follows – the relative MajorKey is G MAJOR:

When we take the various natural minor scale patterns and we LINK them over the fingerboard – it will form akind of ‘MINOR SCALE OR MINOR KEY ROADMAP’ and the subsequent reproduction of the above ‘picture’.So in order to memorize the above sequence of notes we will start by learning the individual minor scalepatterns as indicated in the following section. In this chapter of E MINOR the first note or root note of eachpattern will be the note E and when we link these natural minor scale patterns, we’ll get the above ‘picture’ of thekey of E MINOR that covers the whole extent of the fingerboard.



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Intervals

I

E

E E E E E E E ⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩ F# G A B C D E





Minor sixthinterval

(b 6/ b 13)

Minorseventh


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II

F#

F# F# F# F# F# F# F#

⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩ G A B C D E F#





(b 5)

Minor sixthinterval

(b 6/ b 13)

Minorseventh


III

G

G G G G G G G

⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩ A B C D E F# G


Major thirdinterval



Major sixthinterval


Octave

IV

A

A A A A A A A

⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩

B C D E F# G A Major second

intervalMinor third



intervalMajor sixth

interval

Minorseventh

interval (b 7)

Octave

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V

B

B B B B B B B

⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩ C D E F# G A B





Minor sixthinterval

(b 6/ b 13)

Minorseventh


VI

C

C C C C C C C

⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩ D E F# G A B C


Major thirdinterval


(# 4/ # 11)


Major sixthinterval


Octave

VII

D

D D D D D D D

⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩ E F# G A B C D


Major thirdinterval



Major sixthinterval


Octave

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Diminishedchord


1st E F# G A B C D

3rd G A B C D E F#5th B C D E F# G A

I E Minor 1st E 3rd G (b 3) 5th B

II F# Diminished 1st F# 3rd A (b 3) 5th C (b 5)

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III G Major 1st

G 3rd

B 5th

D

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IV A Minor 1st A 3rd C (b 3) 5th E

V B Minor 1st B 3rd D (b 3) 5th F#

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VI C Major 1st

C 3rd

E 5th

G

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VII D Major 1st D 3rd F# 5th A

Further Harmonization of the Scale Tone Chords in E Minor (Natural)

I II III IV V VI VIIE MinorSeventh

F# Minor Sevenflat Five

G MajorSeventh

A MinorSeventh

B MinorSeventh

C MajorSeventh

D7 (Seventh)

1st E F# G A B C D3rd G A B C D E F#

5th B C D E F# G A7th D E F# G A B C

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Chapter 3THE KEY OF B MINOR (Natural)

The NotesThe key of B MINOR (Natural) is derived from the B NATURAL MINOR SCALE. The notes of the B

NATURAL MINOR SCALE may be presented as follows with a numerical value attributed to each note:

I II III IV V VI VIIB C# D E F# G A

1/8 2/9 b 3/b 10 4/11 5/12 b 6/b 13 b 7

In written musical form the B NATURAL MINOR SCALE is presented in this manner:

Treble Clef

Bass Clef

The Bass FingerboardOn the bass fingerboard the notes of the B NATURAL MINOR SCALE show up as follows – the relative MajorKey is D MAJOR:

When we take the various natural minor scale patterns and we LINK them over the fingerboard – it will form akind of ‘MINOR SCALE OR MINOR KEY ROADMAP’ and the subsequent reproduction of the above ‘picture’.So in order to memorize the above sequence of notes we will start by learning the individual minor scalepatterns as indicated in the following section. In this chapter of B MINOR the first note or root note of eachpattern will be the note B and when we link these natural minor scale patterns, we’ll get the above ‘picture’ of the key of B MINOR that covers the whole extent of the fingerboard.



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Intervals

I

B

B B B B B B B

⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩ C# D E F# G A B





Minor sixthinterval

(b 6/ b 13)

Minorseventh


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II

C#

C# C# C# C# C# C# C#

⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩ D E F# G A B C#





(b 5)

Minor sixthinterval

(b 6/ b 13)

Minorseventh


III

D

D D D D D D D

⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩ E F# G A B C# D


Major thirdinterval



Major sixthinterval


Octave

IV

E

E E E E E E E

⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩

F# G A B C# D E Major second

intervalMinor third



intervalMajor sixth

interval

Minorseventh

interval (b 7)

Octave

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V

F#

F# F# F# F# F# F# F#

⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩ G A B C# D E F#





Minor sixthinterval

(b 6/ b 13)

Minorseventh


VI

G

G G G G G G G

⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩ A B C# D E F# G


Major thirdinterval


(# 4/ # 11)


Major sixthinterval


Octave

VII

A

A A A A A A A

⇩ ⇩ ⇩ ⇩ ⇩ ⇩ ⇩ B C# D E F# G A


Major thirdinterval



Major sixthinterval


Octave

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Diminishedchord


1st B C# D E F# G A

3rd D E F# G A B C#5th F# G A B C# D E

I B Minor 1st B 3rd D (b 3) 5th F#

II C# Diminished 1st C# 3rd E (b 3) 5th G (b 5)

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III D Major 1st

D 3rd

F# 5th

A

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IV E Minor 1st E 3rd G (b 3) 5th B

V F# Minor 1st F# 3rd A (b 3) 5th C#

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VI G Major 1st

G 3rd

B 5th

D

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VII A Major 1st A 3rd C# 5th E

Further Harmonization of the Scale Tone Chords in B Minor (Natural)

I II III IV V VI VIIB MinorSeventh

C# MinorSeven flat Five

D MajorSeventh

E MinorSeventh

F# MinorSeventh

G MajorSeventh

A7 (Seventh)

1st B C# D E F# G A3rd D E F# G A B C#

5th F# G A B C# D E7th A B C# D E F# G

Book 2 Part 1

Documents

Transcript of Book 2 Part 1