Byron Santo Extended Range Bass Neck
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1
2The Extended Range Bass Neck Chart (Key of C-Major)
By
Byron Santo
In this lesson, we will take the Extended Range Bass Neck chart and apply
the key of C-Major to it. Only the notes that correspond to the key of C-Major will
appear on the chart. The color-coding and octave numbering corresponds to the
chromatic version of the ERB or Extended Range Bass chart to maintain
consistency between key signatures. Now we can visualize how the entire ERB
neck chart relates to the key of C-major, no flats or sharps.
This lesson assumes that you have some knowledge of scale and chordal
theory, if you do not check out Scott Hubbell’s “Fretboard Alchemy For 4, 5, And
6-String Bass”.
Now lets look at a few of the most common five and seven tone scales that
can be created from the key of C-major. I have purposely not listed scale
fingerings, patterns or string/fret locations for the scales. The goal of this lesson
is to learn the note names of every string/fret location that corresponds to the key
of C-Major.
Scales derived from the key of C-Major
7 Tone Scales
C-Major or Ionian Scale: C-D-E-F-G-A-B-C
nd
D-Dorian Scale (2
Mode): D-E-F-G-A-B-C-D
rd
E-Phrygian (3
Mode): E-F-G-A-B-C-D-E
th
F-Lydian (4
Mode): F-G-A-B-C-D-E-F
th
G-Mixolydian (5
Mode): G-A-B-C-D-E-F-G
th
A-Minor or Aoelian (6
Mode): A-B-C-D-E-F-G-A
th
B-Locrian (7
Mode): B-C-D-E-F-G-A-B
5 Tone Scales
C-Major Pentatonic: C-D-E-G-A-C
nd
D-2
Mode of Major Pentatonic: D-E-G-A-C-D
rd
E-3
Mode of Major Pentatonic: E-G-A-C-D-E
th
G-4
Mode of Major Pentatonic: G-A-C-D-E-G
th
A-Minor Pentatonic (5
Mode): A-C-D-E-G-A
As you can see, the only difference between these scales/modes is the
number of notes or tones within the scale/mode and the starting note of the
scale/mode but they are all related to the key of C-Major, no flats or sharps.
C-D-E-F-G-A-B-C-D-E-F-G-A-B-C-D-E-F-G-A-B-C
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