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Jazz Bass Lessons: Electric Bass: One Octave Natural, Melodic & Harmonic Minor

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Now we are going to move
onto the one octave natural minor scale.
I'm going to show you you an open
fingering for the low E minor first, and
then I'll show you a close fingering
you can take all over the bass.
And it will work absolutely anywhere.
So the fingering is an open finger,
it's an open E, so
we have O two four O two four O two
That's it, natural minor.
Or if you wanted you could go O,
one two, O, one two,
O one, or even a third one.
O, one, two, four.
One, two, four, one.
And that's your first open kind of thing.
If you wanted to do A minor too and
you wanted an open sound,
you could do it that way too.
It's O one two
four one two four one.
That's a nice, open,
it's partially open, partially closed.
That's more closed and
then here's the open one.
That was O one,
O one two, O one.
Same thing.
Now, once we get into, once we leave
those two open sounds, the E and
A minor, F minor is the fingering
that you will use everywhere else.
One three four one three four one
four four three one four three one.
So, one three four one three
four one four everywhere.
Everywhere, it's just one
three four one three four one three, or
down here where it's
a little further apart.
One, three, four, one,
three, four, one, four.
It's the same thing everywhere.
So that's really easy for a natural minor.
Now let's do the one
octave melodic minor now.
First in the open,
down here again, say E minor.
E melodic minor, O, two four.
O, one four one two.
O, one two.
O, one four one two two
one four one O two one O.
Same thing with the A minor across
the board here.
A, O one two, O one four, one two.
So let's move to F, and
we can go, here's another fairly open one.
one three four one four O
two four one three four O two four.
Now we're into the closed ones.
F sharp.
So, one three four,
one four, one three four.
That's one you can use anywhere.
One three four.
one four.
one three four.
Let's take it over here.
One three four.
one four, one three four.
Now melodic minor has so
many uses over an altered dominant chord,
which we talk about in my theory section
with the piano and the acoustic bass site.
You can see it.
You can use the melodic minor
over many different chords.
One simple application would be if
there's a B seven with a sharp nine and
a sharp five, you can use C melodic minor.
Cuz it gives you all the altered notes in
the B seven.
You get the flatted nine, the sharp nine.
The flatted fifth and the sharp five.
And it gives you so many implications.
The melodic minor,
if you listen to great improvisers,
one of the most important
scales you can know.
That's just one application.
It works over all kinds
of other chords too.
So I would suggest you
go into checking out
the curriculum I have at
the piano where I show that.
So you just learned natural minor and
melodic minor one octave.
And the fingering you can take everywhere.
Now, harmonic minor.
Which is also a great sounding scale,
an exotic sounding scale.
Almost sounds a little Arabic.
So, here it is in E minor.
In the open position down here.
O, two, four, O two, four, one, two, O,
two four, O, two, four, one, two.
A great sound.
Here it is over A minor.
So that's O, two four,
O two four, one two.
So here it is now,
in the closed format, in F minor.
One three four one three four one two.
Two, one, four, three,
one, four, three, one.
That's everywhere.
Up in F sharp,
How about in D?
Everywhere E minor.
Let's say E flat.
So that's one three
four one three four one two.
So that's
a great sound.
So, that's a great sound,
let's just say we have a, we use B.
B harmonic minor.
You can use that over some poly chords.
Again, I show that in
the curriculum at the piano.
And some people use it, they might use it.
B harmonic minor.
They might use it over an F sharp seven
with a sharp five, and a flat nine.
So there are all kinds of uses for
these scales.
We learn these scales to
show our hands the shapes.
So that when we improvise over chords,
and we overlay these sounds.
We don't do it so
we can run them up and down.
We learn it, we learn them, so that we
can find the melodies inside those.
You know, the idea is to take one
of those scales and mull on it.
And try to skip around the scale.
Like a simple thing on the melodic minor,
say C melodic minor, is to use it like
It's very melodic.
So they're sort of like a painters palette
of different colors to choose from,
the notes in these scales,
and they really work.
So my assignment to you now, is I would
like you to take those natural minors,
the melodic minors, and
the harmonic minors,
and make two octave
fingerings that makes sense.
Remember, the fingers that make sense
are either you have sequential fingerings,
and with a couple of shifts,
or you play it in one box and
then you shift and play it in another box.
But it has to make sense.
You can't have like four,
four, four or one, one, one.
Repeated fingers that are the same,
it has to make sense.
And I think if you really pay attention
to the one's we've done already, you're
already starting to see the logic in how
we want it to organize our fingerings.
So, that should get you going on those.