The 2 MUST KNOW Scales For Playing Over EVERYTHING!

2017-12-08T14:22:41+00:00December 8th, 2017|6 Comments

This week we’ll be looking at the 2 most flexible and common scales you’re ever likely to use in your bass lines: The Major and Minor Pentatonic scales. Pentatonic scales are simple 5 note scales so there are literally hundreds of possible variations. But the most common are the Major and Minor Pentatonic. In this lesson we’ll work through a basic 1 octave shape for each scale and then apply them to a simple chord progression.

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6 Comments

  1. Jonathan Heiss December 8, 2017 at 11:16 pm - Reply

    This is fantastic, Mark! Thanks for posting!

  2. denis andrade December 13, 2017 at 11:08 pm - Reply

    Hi Mark,

    I’m Denis from Brazil. I would like to thank you by all lessons that you have postd in our web site.

    It has helped me a lot!

    By my side I have talkd about your web site to musician friends!

    Thank you!

    Denis Andrade

  3. Tony Ashby December 16, 2017 at 11:50 am - Reply

    Mark would like to say a big thankyou. Ive tried to learn years ago but just couldnt get it and how it was explained. Now im 51 and have been learning from scratch with you and i feel ive made progress alot. The way you teach and break it down and even say people find certain things hard .you make me feel im not stupid and can improve. I genuinely cant thank you enough. Tony Ashby High Wycombe Bucks

  4. Tim Smiddy December 18, 2017 at 5:15 pm - Reply

    Gosh Mark,
    Man i am learning so much watching your vids. My mind has opened so much,due to your explanations. Your style of teaching is awesome…I could never thank you enough for your education that you so freely offer…I starting to try &purchase your lessons material…Thank you man…Merry Christmas!!

  5. Justin December 28, 2017 at 5:03 pm - Reply

    Something that is tricky to apply properly has been minor chords played as if a vi- but functioning as the tonic ‘i-‘ chord, and minor chords as the tonic. For example, if an E-7 is functioning as a ii-7, the key would be DMaj. In DMaj the ii-V-I-vi translates to E dorian, A mixolydian, D Ionian and B Aeolian. All these scales use the same notes and are the same scale. However if the E-7 is functioning as a tonic minor chord you have to think vi- as the tonic. The vi-ii-V-I here is E Aeolian, A dorian, D mixolydian and G Ionian. These scales have the same notes and are the same scale. So there is a big difference between approaching a minor chord as the tonic and a ii-7 as a ii chord. If someone approaches a ii-7 as a tonic it will throw off everything. It is confusing in a few ways because technically a tonic minor chord is a imaj/min7 and is in the melodic minor mode. There is little formal instruction on using a standard min7 as a tonic. Melodic minor harmony is a lot different from Major mode Harmony. So the inquiry would be about the differences in application when minor chords are the tonic or functioning as ii-7 and also when in Melodic minor harmony as imaj/min7 chord. I appreciate your input on this Mark. I have an Associates degree in music from the early 1980’s and outside of improv classes no one played in Melodic minor harmony, and rock bands can care less about the ii-7 feeding to the V7 or tritone subs. It is so funny how music is only made up of 12 tones but the theory takes 20 years to master or more.

  6. Costas lilis January 27, 2018 at 9:37 pm - Reply

    You’re just awesome!

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