book4

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MARTYN

KRÜGEL’S

BASS

MANUAL

Book 4:

Melodic Minor Keys

FREE

ELECTRONIC PDF VERSION 1.1 - 2009

NOT FOR SALE

This is a COMPLIMENTARY Internet e-book made available for 01 January 2009 First draft completed 2007 – Revised and Updated 2008

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, remain the property of Martyn Krügel.

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PREFACE

This work is dedicated to teachers and students of the bass and particularly to and for the development of new aspiring bassists. This bass manual series – consisting of seven books – was designed as an additional study aid for students of the bass guitar and to show aspiring bassists just exactly how music theory is applied on the instrument and to promptly set the new bassist who cannot yet read music on the right track.

It is not the type of instruction book that suggests a specified method to be followed and as a result students are urged to develop their own course of action in working through these books. The assistance of a teacher or mentor will be invaluable and I urge aspiring musicians to always seek out a good mentor in music. I am also confident that a good mentor will immediately grasp the intention of my presentation and put the objectives of this presentation into practice, for the benefit of the student.

If anyone has any questions or comments, please feel free to contact me.

And good luck with the music. Martyn Krügel

Special thanks to Edwin Schroeder musician extraordinaire who introduced

and taught me the art of music and especially the greater art of

improvisational music.

Also a special thanks to my family and friends for their support.

INVITATION TO ADVERTISERS

The – Martyn Krügel’s Bass Manual Series – will be updated on a quarterly basis by the author and presented on his web site. Anyone involved in the music industry can therefore utilize this medium to promote their business.

Potential advertisers can contact the author directly if they wish to place advertisements of their products and/or services in the next edition of the – Martyn Krügel’s Bass Manual Series – for a cost-effective way to advertise and market their products and/or services.

For more details contact Martyn and request a price list.

CONTACT DETAILS

Martyn Krügel

web site: www.freebassmanual.com

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In book 1 of this series that deals with the major keys the student was advised to spend a considerable amount of time on the application of the major keys and to gain a thorough understanding thereof because this will result in the student comprehending a lot of musical concepts but also the rapid understanding of the subject matter in all the other books of this series. Then in book 2 of this series we observed that when we start on the sixth degree of the major key, how the natural minor scale is produced and by basically shifting and making the sixth degree of every major key the new starting point or (Key Tonality) how the natural minor key is then subsequently formed. We also learned that the minor key that is formed from the sixth degree of a major key is called the relative minor key of that major key and that the two relative keys will share the exact same notes and key signature. In book 3 we looked at how the harmonic minor keys are formed by raising or sharpening the 7th degree of the natural minor scale. So a very brief overview by using a practical example – will look like this:

natural minor scale:

B C#

D E F# G A

and this will form the key of

B

minor (natural) which is also the relative minor key of

D

major.

harmonic minor.

Now in book 4 we will look at the melodic minor keys and we will again use the same methodology that we used in the previous three books, and again will the practical application be very plain to see because of our understanding of the major keys in book 1, the natural minor keys in book 2 and the harmonic minor keys in book 3.

We now know that the harmonic minor scale is a natural minor scale with a raised (sharpened) 7th degree as shown in book 3 and the melodic minor scale is similar to the harmonic minor scale but the 6th degree will now also be raised (sharpened) to form the melodic minor scale. Or we can just say that the melodic minor scale is a natural minor scale with a raised 6th and a raised 7th degree. In other words the 6th and 7th note of the natural minor scale is sharpened to form the melodic minor scale.

For example: The notes of the

A – NATURAL MINOR SCALE

are

A B C D E F G. T

he 6th degree or note in that scale is the note

F

– the 7h

degree or note in that scale is the note

G

. Hence, the notes of the

A

–

MELODIC MINOR SCALE

will be

A B C D E F# G#

.

A brief overview of what we’ve covered so far (in book 1,2,3 and now 4) and by using a practical example will now look like this:

 The notes of the

E

major scale are:

E F# G# A B C# D#

and will form the key of

E

major.

 The 6th degree of the E major scale is the note

C#

and by starting on the 6th degree (new Key Tonality) and playing the exact same notes of the

E

major scale we will produce the

C#

natural minor scale:

C# D# E F# G# A B

melodic minor.

Below is a table outlining the chapters of book 1 and book 2 (relative major and minor keys) the harmonic minor keys of book 3 and now the melodic minor keys of book 4:

Book 1: Major Keys Book 2: Natural Minor Keys

Book 3: Harmonic Minor Keys

Book 4: Melodic Minor Keys Chapter 1 C Major A Minor A Harmonic A Melodic

Chapter 2 G Major E Minor E Harmonic E Melodic

Chapter 3 D Major B Minor B Harmonic B Melodic

Chapter 4 A Major F# Minor F# Harmonic F# Melodic

Chapter 5 E Major C# Minor C# Harmonic C# Melodic

Chapter 6 B Major G# Minor G# Harmonic G# Melodic

Chapter 7 F# Major D# Minor D# Harmonic D# Melodic

Chapter 8 C# Major A# Minor A# Harmonic A# Melodic

Chapter 9 F Major D Minor D Harmonic D Melodic

Chapter 10 Bb Major G Minor G Harmonic G Melodic

Chapter 11 Eb Major C Minor C Harmonic C Melodic

Chapter 12 Ab Major F Minor F Harmonic F Melodic

Chapter 13 Db Major Bb Minor Bb Harmonic Bb Melodic

Chapter 14 Gb Major Eb Minor Eb Harmonic Eb Melodic

Chapter 15 Cb Major Ab Minor Ab Harmonic Ab Melodic

The Melodic Minor Scale Patterns

In this book 4 of the series we will now see how the melodic minor keys are applied on the bass. Since we will be using the same methodology that we used in books 1, 2 and book 3 we will now have melodic minor scale patterns that will cover the bass fingerboard utilizing the exact same principal that we used in the previous three books but applying it now in the formation of the new melodic minor keys. We will again have three patterns starting with the root note on the top string covering the fingerboard to the left, the center and to the right. And again we will also have three almost identical patterns but with the root note or starting point on the second string and then finally and as always, the single string pattern that can and must be played on all four strings. And remember, if you have a thorough understanding of the major keys, the natural minor keys and the harmonic minor keys and the application thereof the information given here will again be purely a matter of principal and more easily understood since the bulk of the work was already done in the previous three books.

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

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

Pattern to the Left

Pattern in the Center

Pattern to the Right

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

Single String Pattern

 Now, when we take these melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC MINOR KEY ROADMAP’ across the entire

surface of the fingerboard in which you can then play and improvise – once learned. It is important that you know your instrument well and learn to play all over the fingerboard in a particular key. Movement across the fingerboard of your instrument is absolutely essential and should be a natural part of your playing ability and the single string pattern will assist you in this and in playing these patterns in a ‘linked’ manner.

 What is interesting is that the above melodic minor scale patterns remain exactly the same in form (the

PATTERN that you visualize and memorize) when applied to any other melodic minor key. To play in

any other melodic minor key will only depend on the starting note or the first note of the pattern also called the root note. For example: Starting on the B note and imitating the above melodic minor scale patterns would produce the B MELODIC MINOR SCALE that then again produces the KEY OF B

MELODIC 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# MELODIC MINOR SCALE that then again produces the KEY OF F# MELODIC 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 melodic minor scale patterns mentally and technically (acquiring through regular practice the physical ability to play these patterns) you’ll be well on your way to be able to play in any melodic minor key ALL over the bass fingerboard.

 Each and every ‘ROADMAP OF THE MELODIC MINOR SCALE OR KEY’ produced by linking the melodic minor scale patterns, remains the same in visual form to any other individual melodic minor key – a kind of mirror effect that takes place. This incident occurs on instruments like the guitar and bass purely by their design, where the ‘picture’ or pattern of one key looks exactly the same (visually) as the ‘picture’ or pattern of any other similar key. This repetition makes it just a little easier to learn the

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instrument. The subsequent notes calculated in a melodic minor scale sequence from any given starting point will bring about that starting point’s melodic minor key. The starting point for example in the key of A MELODIC MINOR, will be the root note or key note A and this starting point is also called the KEY TONALITY. It is the position of the notes and their note names and their 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 fluently is not the music just yet (but it will be the first objective in terms of technique and learning your instrument). When we think of music and the function of these patterns, it is best explained when we observe the improvisational musician like a Jazz bassist who would create melodies, riffs, licks and musical themes spontaneously within these patterns by playing an assortment of different note selections and rhythmic variations around these patterns that has already been committed to memory. In other words, first memorize these patterns physically (technique) and then improvise around it. These patterns should be memorized visually in form, also numerically and it is also important that the note names of each particular scale are memorized as well. When you do all this practicing you will automatically train your ear and begin to develop your aural sense and also the ability to hear the relationship of sounds.

And please just keep in mind that if you have a thorough understanding of the major keys, the natural minor keys and the harmonic minor keys and the application thereof the information given here will again be purely a matter of principal and more easily understood since the bulk of the work was already done in the previous three books. In book 2 we learned that by starting on the sixth degree of the major key the natural minor scale is produced and that it is actually just a shift that occurs in that the sixth degree of every major key will now become our starting point (Key Tonality) in the formation of the natural minor key. And in book 3 we learned that the harmonic minor scale is just a natural minor scale with a raised (sharpened) 7th degree that forms the harmonic minor key. And now we see that by raising the 6th degree of the harmonic minor scale how the melodic minor scale is formed to produce the melodic minor key.

[In practice you can look at the melodic minor scale as a major scale with a minor third interval or flattened third degree instead of a major third. Always observe and analyze the information and put it into a context that you can practically apply on your bass].

Comments on Fingerings and Technique

What I will do now is play the first three melodic minor scale patterns in the following sets of photographs so that you can observe my fingerings just to check your fingerings against mine (if your fingerings differ from mine and you can play the pattern comfortably, then that is fine – this is just a guideline). Also see if you can find more tips on technique by observing what I’m doing. [One photo for every degree of the pattern ascending and descending]:

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Pattern to the Left

1st Degree 2nd Degree 3rd Degree 4th Degree 5th Degree

6th Degree 7th Degree 8th Degree 9th Degree 10th Degree

4th Degree 3rd Degree 2nd Degree 1st Degree

Pattern in the Center

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6th Degree 5th Degree 4th Degree 3rd Degree 2nd Degree

1st Degree

Pattern to the Right

1st Degree 2nd Degree 3rd Degree 4th Degree 5th Degree

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3rd Degree 2nd Degree 1st Degree

Single String Pattern

1st Degree 2nd Degree 3rd Degree 4th Degree

5th Degree 6th Degree 7th Degree 8th Degree

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3rd Degree 2nd Degree 1st Degree

Comments on Improvisation

[IMPORTANT NOTICE: The new aspiring musician should just take a moment

and think about and conceptualize the notion of IMPROVISATION in the context

of music with the goal of applying it when learning, practicing and playing].

A few things to think about and apply when incorporating improvisation when playing or practicing something like the melodic minor scale patterns and open to your own

interpretation

Accents Phrasing Arpeggios Relaxation Note Repetition

Tempo Speed Note Selection Taking Risks Volume

Beat Melody Trills Listening Finger Articulation Coordination Legato Intervals Timing Single String

Amplitude Pizzicato Modes Syncopation Chords

Rhythms Articulation Question &

Answer Emotion Blues Tremolo Phantom Notes Concentration Jazz Silence

Dynamics Triplets Open Strings Length of Note Space

Ornaments Harmonics Bebop Triads Discipline

Scatting Tapping Visualizations Sliding Music

A Final Word

In working through this series of books, 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 note

C and G# together produces an augmented fifth interval, you must then take your bass and apply this and play

these two notes and listen and observe and say to yourself, okay, so this is an augmented fifth interval and approach all the other topics in the same fashion. Also keep in mind that one of your objectives is 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 next chapter except for the note names and their respective sounds and the different positions on the fingerboard that changes with every different melodic minor key. The student is advised to compare the chapters with one another to see and find the characteristics of the melodic minor keys.

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When you work slowly through the chapters in this book you will begin to conceptualize the application of theory on your bass and with a little persistence and before you know it you’ll have an extensive music vocabulary or a sort of information database that you can draw on when you play. Do not be put of by the jargon or terminology used in the theory because as you gradually work through every chapter you will come to terms with the important things. Once you have grasped and worked through the first chapter of this book, every subsequent chapter will also be easier because you will basically be doing the same stuff. Your ability to hear things in a musical context will also develop and your ear will automatically catch-up with the things you are doing and this facility to hear things will begin to subconsciously dictate what you want or need to do. Observe this phenomenon when it occurs and cultivate it further.

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Chapter 1 THE KEY OF A MINOR (Melodic)

The Notes

The key of A MINOR (Melodic) is derived from the A MELODIC MINOR SCALE. The notes of the A MELODIC

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

I

II

III

IV

V

VI

VII

A

B

C

D

E

F#

G#

1/

8 2/

9 b

3/

b10

4/

11 5/

12 6/

13

7

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

TrebleClef

Bass Clef

The Bass Fingerboard

On the bass fingerboard the notes of the A MELODIC MINOR SCALE shows up as follows:

When we take the various melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns as indicated in the following section. In this chapter of A MELODIC

MINOR the first note or root note of each pattern will be the note A and when we link these melodic minor scale

patterns, we’ll get the above ‘picture’ of the key of A MELODIC MINOR that covers the whole extent of the fingerboard.

The Melodic Minor Scale Patterns

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Pattern to the Left

Pattern in the Center

Pattern to the Right

Single String Pattern

Intervals

I

_D

I

A Minor

1 st

A

3 rd

C

_(b3)

5 th

E

II

B Minor

1 st

B

3 rd

D

_(b3)

5 th

F#

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IV

D Major

1 st

D

3 rd

F#

5 th

A

(21)

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VII

G# Diminished

1 st

G#

3 rd

B

_(b3)

5 th

D

_(b5)

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

I

II

III

IV

V

VI

VII

A Minor/Major Seventh B Minor Seventh C Major Seventh sharp Five

D7 (Seventh) E7 (Seventh) F# Minor Seven flat Five

D

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Chapter 2 THE KEY OF E MINOR (Melodic)

The Notes

The key of E MINOR (Melodic) is derived from the E MELODIC MINOR SCALE. The notes of the E MELODIC

I

II

III

IV

V

VI

VII

E

F#

G

A

B

C#

D#

1/

8 2/

9 b

3/

b10

4/

11 5/

12 6/

13

7

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

TrebleClef

Bass Clef

The Bass Fingerboard

On the bass fingerboard the notes of the E MELODIC MINOR SCALE shows up as follows:

When we take the various melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns as indicated in the following section. In this chapter of E MELODIC

MINOR the first note or root note of each pattern will be the note E and when we link these melodic minor scale

patterns, we’ll get the above ‘picture’ of the key of E MELODIC MINOR that covers the whole extent of the fingerboard.

The Melodic Minor Scale Patterns

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Pattern to the Left

Pattern in the Center

Pattern to the Right

Single String Pattern

Intervals

I

E

⇩

F#

G

A

B

C#

D#

E

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II

F#

⇩

G

A

B

C#

D#

E

F#

III

G

⇩

A

B

C#

D#

E

F#

G

IV

A

⇩

B

C#

D#

E

F#

G

A

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V

B

⇩

C#

D#

E

F#

G

A

B

VI

C#

⇩

D#

E

F#

G

A

B

C#

VII

D#

⇩

E

F#

G

A

B

C#

D#

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Harmony: The Scale Tone Chords (triads)

I

II

III

IV

V

VI

VII

1

st

_E

_F#

_G

_A

_B

_C#

_D#

3

rd

_G

_A

_B

_C#

_D#

_E

_F#

5

th

_B

_C#

_D#

_E

_F#

_G

_A

I

E Minor

1 st

E

3 rd

G

_(b3)

5 th

B

II

F# Minor

1 st

F#

3 rd

A

_(b3)

5 th

C#

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IV

A Major

1 st

A

3 rd

C#

5 th

E

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VII

D# Diminished

1 st

D#

3 rd

F#

_(b3)

5 th

A

_(b5)

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

I

II

III

IV

V

VI

VII

E Minor/Major Seventh F# Minor Seventh G Major Seventh sharp Five

A7 (Seventh) B7 (Seventh) C# Minor Seven flat Five

A

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Chapter 3 THE KEY OF B MINOR (Melodic)

The Notes

The key of B MINOR (Melodic) is derived from the B MELODIC MINOR SCALE. The notes of the B MELODIC

I

II

III

IV

V

VI

VII

B

C#

D

E

F#

G#

A#

1/

8 2/

9 b

3/

b10

4/

11 5/

12 6/

13

7

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

TrebleClef

Bass Clef

The Bass Fingerboard

On the bass fingerboard the notes of the B MELODIC MINOR SCALE shows up as follows:

When we take the various melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns as indicated in the following section. In this chapter of B MELODIC

MINOR the first note or root note of each pattern will be the note B and when we link these melodic minor scale

patterns, we’ll get the above ‘picture’ of the key of B MELODIC MINOR that covers the whole extent of the fingerboard.

The Melodic Minor Scale Patterns

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Pattern to the Left

Pattern in the Center

Pattern to the Right

Single String Pattern

Intervals

I

B

⇩

C#

D

E

F#

G#

A#

B

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II

C#

⇩

D

E

F#

G#

A#

B

C#

III

D

⇩

E

F#

G#

A#

B

C#

D

IV

E

⇩

F#

G#

A#

B

C#

D

E

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V

F#

⇩

G#

A#

B

C#

D

E

F#

VI

G#

⇩

A#

B

C#

D

E

F#

G#

VII

A#

⇩

B

C#

D

E

F#

G#

A#

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Harmony: The Scale Tone Chords (triads)

I

II

III

IV

V

VI

VII

1

st

_B

_C#

_D

_E

_F#

_G#

_A#

3

rd

_D

_E

_F#

_G#

_A#

_B

_C#

5

th

_F#

_G#

_A#

_B

_C#

_D

_E

I

B Minor

1 st

B

3 rd

D

_(b3)

5 th

F#

II

C# Minor

1 st

C#

3 rd

E

_(b3)

5 th

G#

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(38)

IV

E Major

1 st

E

3 rd

G#

5 th

B

(39)

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VII

A# Diminished

1 st

A#

3 rd

C#

_(b3)

5 th

E

_(b5)

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

I

II

III

IV

V

VI

VII

B Minor/Major Seventh C# Minor Seventh D Major Seventh sharp Five

E7 (Seventh) F#7 (Seventh) G# Minor Seven flat Five

E

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Chapter 4 THE KEY OF F# MINOR (Melodic)

The Notes

The key of F# MINOR (Melodic) is derived from the F# MELODIC MINOR SCALE. The notes of the F#

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

I

II

III

IV

V

VI

VII

F#

G#

A

B

C#

D#

E#

1/

8 2/

9 b

3/

b10

4/

11 5/

12 6/

13

7

In written musical form the F# MELODIC MINOR SCALE is presented in this manner:

TrebleClef

Bass Clef

The Bass Fingerboard

On the bass fingerboard the notes of the F# MELODIC MINOR SCALE shows up as follows:

When we take the various melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns as indicated in the following section. In this chapter of F# MELODIC

MINOR the first note or root note of each pattern will be the note F# and when we link these melodic minor scale

patterns, we’ll get the above ‘picture’ of the key of F# MELODIC MINOR that covers the whole extent of the fingerboard.

The Melodic Minor Scale Patterns

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Pattern to the Left

Pattern in the Center

Pattern to the Right

Single String Pattern

Intervals

I

F#

⇩

G#

A

B

C#

D#

E#

F#

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II

G#

⇩

A

B

C#

D#

E#

F#

G#

III

A

⇩

B

C#

D#

E#

F#

G#

A

IV

B

⇩

C#

D#

E#

F#

G#

A

B

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V

C#

⇩

D#

E#

F#

G#

A

B

C#

VI

D#

⇩

E#

F#

G#

A

B

C#

D#

VII

E#

⇩

F#

G#

A

B

C#

D#

E#

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Harmony: The Scale Tone Chords (triads)

I

II

III

IV

V

VI

VII

1

st

_F#

_G#

_A

_B

_C#

_D#

_E#

3

rd

_A

_B

_C#

_D#

_E#

_F#

_G#

5

th

_C#

_D#

_E#

_F#

_G#

_A

_B

I

F# Minor

1 st

F#

3 rd

A

_(b3)

5 th

C#

II

G# Minor

1 st

G#

3 rd

B

_(b3)

5 th

D#

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(47)

IV

B Major

1 st

B

3 rd

D#

5 th

F#

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(49)

VII

E# Diminished

1 st

E#

3 rd

G#

_(b3)

5 th

B

_(b5)

Further Harmonization of the Scale Tone Chords in F# Minor (Melodic)

I

II

III

IV

V

VI

VII

F# Minor/Major Seventh G# Minor Seventh A Major Seventh sharp Five

B7 (Seventh) C#7 (Seventh) D# Minor Seven flat Five

B

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Chapter 5 THE KEY OF C# MINOR (Melodic)

The Notes

The key of C# MINOR (Melodic) is derived from the C# MELODIC MINOR SCALE. The notes of the C#

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

I

II

III

IV

V

VI

VII

C#

D#

E

F#

G#

A#

B#

1/

8 2/

9 b

3/

b10

4/

11 5/

12 6/

13

7

In written musical form the C# MELODIC MINOR SCALE is presented in this manner:

TrebleClef

Bass Clef

The Bass Fingerboard

On the bass fingerboard the notes of the C# MELODIC MINOR SCALE shows up as follows:

When we take the various melodic minor scale patterns and we LINK them over the fingerboard – it will form a kind of ‘MELODIC MINOR SCALE OR MELODIC 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 melodic minor scale patterns as indicated in the following section. In this chapter of C# MELODIC

MINOR the first note or root note of each pattern will be the note C# and when we link these melodic minor

scale patterns, we’ll get the above ‘picture’ of the key of C# MELODIC MINOR that covers the whole extent of the fingerboard.

book4

MARTYN

KRÜGEL’S

BASS

MANUAL

Book 4:

Melodic Minor Keys

FREE

ELECTRONIC PDF VERSION 1.1 - 2009

NOT FOR SALE

PREFACE

Special thanks to Edwin Schroeder musician extraordinaire who introduced

and taught me the art of music and especially the greater art of

improvisational music.

Also a special thanks to my family and friends for their support.

INVITATION TO ADVERTISERS

CONTACT DETAILS

CONTENTS

Chapter 1

The Notes

The Bass Fingerboard

The Melodic Minor Scale Patterns

Intervals

Harmony: The Scale Tone Chords

(triads)

Further Harmonization of the Scale

Tone Chords

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Chapter 7

Chapter 8

Chapter 9

Chapter 10

Chapter 11

Chapter 12

Chapter 13

Chapter 14

INTRODUCTION

Melodic Minor Keys

D

D E F# G A B C#

D

D

B

D

B

B C#

D E F# G A

B

D

B

A

A#

B

B C# D E F# G A#

B

A – NATURAL MINOR SCALE

A B C D E F G. T

F

G

A

–

MELODIC MINOR SCALE

A B C D E F# G#

E

E F# G# A B C# D#

E

C#

E

C#

C# D# E F# G# A B

C#

E

C#

B

B#

C#