This showed up clearly when I was plotting the charts.
This was one of the reasons for me plotting the charts.
I was surprised by some of the tonality differences and how they can affect the mood of a song.
Subtle but noticeable in most, but not all, cases.
Exactly, and another reason I started plotting 1,3,5 finger charts for ALL the scales for the 4 string Bass.
So far I am finding that this is a very laborious but worthwhile project.
What do you mean?
Sheās making a backhanded jab at tablature. She doesnāt like it.
It wasnāt a jab, I was simply clarifying what he said. No, I donāt care for it (for a number of reasons) and donāt use it, but if someone else still uses it thatās their business .
Just so weāre clear here and I havenāt misunderstood something basic. The Bass is tuned in fourths. So each string is a 4th above the other. Thereās no pesky G string to mess any patterns up.
So once youāve learned the shape of the Major, Minor scale all you need to do is know where the root note is on the fret board. Then apply that shape and youāre away.
So when you say ALL the scales. How may are there? There canāt be that many shapes to learn surely? Or have i missed some crucial detail in all this?
Standard tuning on a 4 string Bass is EADG so there is a G string.
[quote=āBarney, post:25, topic:23810ā]
ā¦ all you need to do is know where the root note is on the fret board.
Starting the C scale from the 3rd fret of the A string or the 8th fret of the E string as an example, the notes are the same but the tonality is different.
I am working with just the 15 Major and 15 Minor scales so a total of 30 that relate to the Bass.
There are more. Google āHow many musical scales are thereā.
How?
Was not clear to me thatās why I asked.
Still not clear what you meant.
Ok, but so I am clear here. Iāve only been playing for less than a year and youāve been at this for 50 years. So I hope you know more music theory than me.
The Major scale and Minor scale arenāt notes per se, but rather the intervalic relationship between notes. So once I have learned the interval relationship of the Major scale and apply that pattern to the fret board. I can play the Major scale starting on any note? Right? I donāt need to learn 15 different shapes?
I understand there will be tonal differences depending on which root note I choose to start on but the pattern remains the same. Right?
I think there is some confusion here.
I am not discussing playing complete scales but rather just the 1,3,5 in each of the scales to compose Bass lines and also the most efficient way to play/finger them.
Iām not confused (at least I donāt think I am).
Youāre taking the 1st (root), 3rd and 5th interval in the scale (Triad) and then playing them all over the fret board. Starting at different root notes. One pattern, but multiple permutations. Got it.
Iām doing the same thing right now, working my way through Ariane Capās Bass music theory book.
Starting at different POSITIONS of the Root notes within the SAME scale. - Yes.
Interesting she is teaching triad construction using intervals rather than just saying that Major chords are constructed from the 1,3,5 of the scale you are dealing with and minor chords from 1,ā3,5, of the scale you are dealing with.
Your illustration shows exactly what I am getting at.
Both diagrams show fingerings for the A Major chord however, the bottom one would seem more efficient to me because there is only a two fret jump from C to E compared to the 3 fret jump in the upper diagram.
Tablature is helpful especially for beginners because it not only tells you WHAT to play, but also WHERE to play (on the fretboard). However, that is also its biggest problem, as this often reflects some individualās choice how to finger a certain sequence of notes.
Notation/sheet music does NOT tell you where to play on the fretboard. For some notes, there is only one option, but for many there are several options (with the same pitch, if different timbre!). Finding the ābestā or āeasiestā or ābest soundingā path across the fretboard is up to the bass player, and can indeed be highly individual.
Hence, one can use tablature as a source of information, but should not take them as gospel.
(I think that is probably what @PamPurrs had in mindā¦ forgive me all for stepping in (and potentially over some boundaries), but I also just wanted to help in clarifying things 
)
I agree 100%
Youāre right about taking TAB for gospel. Most TAB I have seen on the internet is just wrong.
The most reliable source for TAB, in books, that I have found is the Hal Leonard series.
The one thing that has always irked me is that TAB alone does not show the rhythm although if it is included with a melody line that sorts out that problem. I was happy to see that the 50 Song Challenge Score sheets include both.
I personally do not use TAB but I do understand how it is helpful to beginners who are just starting out.
This is no disrespect to you or indeed anyone else here on the forum (many of whom have immense amounts of musical experience) but after really struggling with music theory when unsuccessfully learning guitar. I decided that less is more. So I started learning my theory through the excellent B2B course. Taught by a professional instructor.
Then based on someoneās recommendation I bought Ariane Capās Bass music theory book and Iām working through that.
The internet is full of rabbit holes to go down and it can be so easy to be pulled in numerous different directions. Itās also possible to be given advice that may not be correct.
I used to teach skiing professionally and often Iād see someoneās husband / wife trying to teach their significant other to ski. Usually with variable results.
So for now all my structured music theory learning is coming from professional teachers. Until I get to the point when I am able to be more discerning about the quality of the information.
So as I said this is a fantastic forum, but with much love for my fellow Bass Buzzers I assume that some of you may well be dogs that have learned to type 
Ouch!
If you meant the B2B course, I agree. This is all the theory beginners need and is well presented.
Here is the theory book that I recommend and have used for the last 9 years.
Mine needed replacing recently and I looked at Ariās offering but at twice the price I could not justify purchasing it when I already knew what was in the Hal Leonard book.
Many of them contain errors, true. But, my point was more that they - even when showing the right notes - show a fingering that worked for someone, but which shouldnāt be taken as the only possible way to play something on a fretboard.
There is a form of tab that conveys rhythmic information as well; stuff like this:
Interesting.
I have never come across that form of TAB before.
Thank you.
Iāve posted a ton
All tabs on Songsterr are like that. Itās great.
Iām referring to how the original artist actually played a performance.
