scales and arpeggios

SCALES &ARPEGGIOS

20 LESSONS(Seven Shapes of Scales & Arpeggios)

20 EXERCISES (by Diatonic order, Patterns, Intervals& Triads)

SEVEN SHAPES FOR EACH TYPE

OF SCALES AND ARPEGGIOS

by Nestor CrespoPractical and dynamic work methodology for the self-taught

student as well as for the teacher in classserie20y20.com.ar

BASS

Only contains:FREE VERSION

3 Lessons & 3 Exercises

2 Backing Tracks

55 BACKING TRACKS

MUSICIAN FRIEND

You’ve just downloaded the Free Version of this Ebook:

Scales & Arpeggios for Bass by Néstor Crespo

If you wish, you can purchase for a very low cost the complete version, which includes a greater number of exercises, assignments, backing, tracks, etc. with the objective of securing the addressed concepts.

As an independent publishing house, we will be so thankful with your purchase, because in this way you are helping us to create even more teaching material.

From Buenos Aires, Argentina, we send you the best wishes for your musical career.

Néstor Crespo Serie20&20 Director

www.serie20y20.com.ar

INDEX

LESSON 1

• Major Diatonic Scale.

• Minor Natural Scale.

LESSON 2

• Major Seventh Arpeggio.

• Dominant Seventh Arpeggio.

LESSON 3

• Minor Seventh Arpeggio.

• Half Diminished Arpeggio.

LESSON 4

• Dorian Scale. (only in paid version)

• Mixolydian Scale. (only in paid version)

LESSON 5

• Lydian Scale. (only in paid version)

• Phrygian Scale. (only in paid version)

LESSON 6

• Locrian Scale. (only in paid version)

• Greek Modal Scale's Summary Table. (only in paid version)

LESSON 7

• Harmonic Minor Scale. (only in paid version)

• Melodic Minor Scale. (only in paid version)

LESSON 8

• Minor Major Seventh Arpeggio. (only in paid version)

• Mayor Seventh Five Augmented Arpeggio. (only in paid version)

LESSON 9

• Lydian b7 Scale. (only in paid version)

• Altered Scale. (only in paid version)

LESSON 10

• Lydian Augmented Scale. (only in paid version)

• Locrian #2 Scale. (only in paid version)

[email protected] / www.nestorcrespo.com.ar / www.serie20y20.com.ar

LESSON 11

• Mixolydian b6 Scale. (only in paid version)

• Dorian b2 Scale. (only in paid version)

LESSON 12

• Major Pentatonic. (only in paid version)

• Minor Pentatonic. (only in paid version)

LESSON 13

• Minor Pentatonic. ( with b5 ) (only in paid version)

• Minor Pentatonic. ( with major 6 ) (only in paid version)

LESSON 14

• Blues Scale. (only in paid version)

• Pentatonic Scale's Summary Table. (only in paid version)

LESSON 15

• Major Triad. (only in paid version)

• Minor Triad. (only in paid version)

LESSON 16

• Augmented Triad. (only in paid version)

• Diminished Triad. (only in paid version)

LESSON 17

• Whole Tone Scale. (only in paid version)

• Augmented Scale. (only in paid version)

LESSON 18

• Diminished Arpeggio. (only in paid version)

• Symmetrical Diminished Scale. (only in paid version)

LESSON 19

• Symmetrical Dominant Scale. (only in paid version)

• Symmetrical Scales Summary Table(only in paid version)

LESSON 20

• Complete Scale's Summary Table. (only in paid version)


My gratitude goes to:

to my friend , Edi Vallarino.

Néstor Crespo

NESTOR CRESPO (Professor - Guitarist - Composer - Arranger)

Teaching Career

Made guitar studies with professor Armando Alonso and composing with professor Claudio Schulkin in an autodidact way.

Develops a solid teaching career, both in the private sector and in important institutions from Argentina and Europe.

Founder professor (1986) of the Escuela de Música Popular de Avellaneda holding the position of associate professor of the Jazz Guitar professorship, position held today. Also works on the making of four workbooks for the professorship mentioned.

Professor of the virtual professorship Functional Harmony I & II from the UNA’s (Nacional University

of Art) Departamento de Artes Musicales y Sonoras (Damus) , position held today.

Dictated numerous workshophs about Functional Harmony and Improvisation of Popular Music in prestigious study centers such as: Hochshule für Musik Karlsruhe (Germany), Conservatorio de Palma de Mallorca and Las Aulas (Barcelona, Spain), as well as other clinics about Tango elements, in Germany and Switzerland organized by the Deutsch Akademie des Tango (Stuttgart, Germany)

Created in 2008 "Serie 20 & 20 – workbooks" which contains 20 lessons and 20 exercises about different areas of musical science. (For more information visit: www.serie20y20.com.ar)

In March of 2013 the editorial of DAMus (Department of Musical Arts) dependent of UNA (Nacional University of Art) publishes the book Funtional Harmony 1 & 2.

Career Highlights

During the 80s, takes part of different Jazz groups performing in the most prestigious jazz venues and clubs of Buenos Aires and the inner country.

In 1989 lives in Palma,Mallorca (Spain) working with european musicians among which stands out Ola Calamayer (pianist of saxophonist Dexter Gordon). Participates in the Mallorca International Jazz Festival, invited by the quintet of the prestigious trumpeter Woody Shaw.

In the early 90s creats with Juan Dargenton El Tranvía Tango with which records 9 CDs in Argentina and Europe, and performs continuously over 25 european tours averaging 80 annual concerts, playing in the most impo rtant concert halls, culturar centers, theaters, etc.

Shared the stage with Sexteto Mayor, Daniel Binelli (bandoneonist of Astor Piazzolla), bandoneonist Alfredo Marcucci, singers José Ángel Trelles, María Graña, etc.

Received important awards both in Argentina and abroad: ACE Award (Entertainment Writters Association) as Best Tango Group, Tango Future Award given by Deutsch Akademie der Tango (Stuttgart, Germany). CD Ocre Buenos Aires", receives an award for Best CD granted by the famous magazine Gränsen (Stockholm, Sweden), etc.

Develops an intense career as an arranger of tango and world music for different record labels in Germany.

Composed the music for the program Visión Siete Internacional (winner of the Martin Fierro 2009 award) which it is broadcasted since 2005 by TV Pública - Canal 7 - Argentina.

Invited by plastic artist Andrés Zerneri to compose the music of his two documentaries: 900 grados (monument to Che

Guevara) and Monumento a la Mujer Originaria".

In 2006 creats in Germany with Tomas Pérez (Puerto Rico) and Joselo González (Chile) the music group called Sur Tres, recording their first CD in which performs its musical arrangements.

Also served as arranger and musical director of the Tango singer Omar Mollo, and guitarist of the singer and bandoneonist Rubén Juárez.


� � � � � � � �Cmaj7

Shape 1 Shape 2 Shape 3 Shape 4

Shape 5 Shape 6 Shape 7

�

1

2

4

1

1

2

4 4

1

3

�

III

�III

2

4

1

2

4

1

�

4

1

2

4

1 1

3

�

3

4

�

2

4

1

2

4

VIII

1

�

4

1

2

4

1

3

�

1

3

4

VIII

�

1

4

1

2

4

1

2

4

2

4

�

X

1

2

4

2

4

1

2

4

�1

3

4 �

X

XV

1

3

4

1

2

4

3

11

2

4

� � � �� Cm7



�

1

2

4

2

1

�

1

4

1

3

4

III

�

3

4

1

3

4

1

�

4

1

2

4 �

1

2

4

1

2

4

�

3

4

2

1

III

VIII

X

�

3

4

1

3

4

1

�

4

1

2

4

�X

3

4

1

3

4

1

2

4

1

2

4 �

1

2

4

1

2

4

2

11

2

4XV

�

1

2

4

1

2

�

1

2

44

1

VIII


Major Diatonic Scale - Ionian

Natural Minor Scale - Aeolian

(Néstor Crespo)

T 3 5 7

9 11 6

T b3 5 b7

9 11 b6

LESSON 1

www.nestorcrespo.com

.ar

Shape 3


.ar


.ar


.ar


.ar


.ar


.ar


.ar�� 2

4


.arVIIIVIII


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar

��


.ar

Shape 5Shape 5


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar

222

4

1

333

��

1

44

T b3 5 T b3 5

9 11 b69 11 b6

� ��

� �

a) Starting from Tonic �, practice eighth notes upwards

and downwards repeatedly.

�

1. DIATONIC ORDER ( ��to��)

� ��

��

b) Starting from Tonic �, practice eighth notes upwards


�

� ��

�

2. PATTERNS - ( ��to��)

Pattern

Pattern 1

� � � � � � � � � ��

�

Pattern

Pattern 2

� � � � � � � �

� � � � �

3. INTERVALS ( ��to��)

� �

Thirds

a)

Ascending

c)

� � � �Descending

� � � � �

��

b)

� � � �

� � � � �

��

Fourths: Practice as Thirds (� - �) - (� - �) - (� - �) - (� - �)

Sixths: Practice as Thirds (� - �) - (� - �) - (� - �) - (� - �)

� � � � � � � � �

� �

d)

� � � �

� 3

� � � 3

� � �

��

4. TRIADS ( ��to��)

a)

� 3

� � � 3� � �

��

b)

� 3� � �3

� � �

��

c)

� 3� � �3� � �

��

d)

� � �� C� - Cm7

Backing Track: 1 - 3

a)

7 � � � �Eb� - Ebm7

7 � � � �D� - Dm7

7 � � � �Db� - Dbm7

7

� � �� G� - Gm7


b)

7 � � � �Bb� - Bbm7

7 � � � �A� - Am7

7 � � � �Ab� - Abm7

7


(Néstor Crespo)

PRACTICE ROUTINE

PLAYING OVER BACKING TRACK

Major Diatonic & Natural Minor Scales

All examples are based on the first shape of the major diatonic scale. They have to be made with the six remaining

shapes as well as the seven shapes of the natural minor. (each exercise indicates the minimum and maximum tempo to be reached)

5. Link different shapes by common note or neighbors using half note, quarter note and eight notes.

EXERCISE 1 You can also buy the guide notes of Major Scale with a complete development of the present exercise. (PDF of 34 pages)


.ar


.ar


.ar


.ar


.ar


.ar

�


.ar

��


.ar


.ar

ATTERNSATTERNS - - ( ( ��toto��


.ar


.ar


.ar

��


.ar

�


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar

�


.ar


.ar

��


.ar


.ar


.ar


.ar

DescendingDescending


.ar


.ar


.ar


.ar


.ar


.ar

d)


.ar��


.ar


.ar


.ar


.ar


.ar


.ar


.ar�


.ar


.ar


.ar ��

d)d)

� � � � �Cmaj7



�

1

4

3

�

1

2III

�

4

2

1

�

1

4

III

�

3

1

4

�

4

3VIII

�

1

43

�

3

1

VIII

11

44

X

�

4

2

1

4

2�

� X

2 �

3

1

4

3

4

1

XV

� � � � ��C7



�

1

4 �

1

2III

�

4

2

1

�

1III

�

3

1

4

�

4

VIII

�

1

4 �

3

1

VIII

1

1

44

X

�

4

2

1

3�

� X

2 �

3

1

44

1

XV

2

4

2 2

4

2


Major Seventh Arpeggio

Dominant Seventh Arpeggio

(Néstor Crespo)

T 3 5 7

T 3 5 b7

LESSON 2


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar

�

Shape 3


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar��


.ar


.ar

Shape 5Shape 5


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar

4

333

��

4

VIIIVIII

T 3 5 T 3 5

� ��


a) Starting from Tonic �, practice eighth notes upwards


�

� ��

b) Starting from Tonic �, practice eighth notes upwards


�

� ��

��

�

2. ASCENDING AND DESCENDING CHROMATICALLY ( ��to��)

C�Ascending

��

�

C#�

� ��

�

�

D�

Descending

��

�

Db�

� ��

3

� � �3� � �

3� � �3� � �

3. PATTERNS ( ��to��)

Pattern 2

�

3� � � 3� � �3

� � �3

� � �3

� � �

3

� � �Descending

� �� 3

� � � 3

� � � 3

� � �Pattern 2

�

3� � � 3� � � 3� � �3

� � �3

� � �

3

� � �

Descending

� � �� C� - C7

a)


7 � � � �Eb� - Eb7

7 � � � �D� - D7

7 � � � �Db� - Db7

7

� � �� G� - G7

b)


7 � � � �Bb� - Bb7

7 � � � �A� - A7

7 � � � �Ab� - Ab7

7


Maj7 & 7 Arpeggio(Néstor Crespo)

PRACTICE ROUTINE


All examples are based on the first shape of the arpeggio Cmaj7. They have to be made with the six remaining shapes as well as the seven shapes of the dominant arpeggio. (Each exercise indicates the minimum and maximum tempo to be reached)

a) Starting from Cmaj7 (Shape 1) chromatically ascend keeping up the same formula until reaching Dmaj7, then descend to Cmaj7 and end.Notice that the arpeggio's link is produced through the 7th. (major or minor according to the chord type)

Repeat the same process with the six remaining shapes and also with the seven shapes of the dominant chord.

EXERCISE 2



.ar


.ar


.ar


.ar


.ar


.ar

� ��


.ar

��


.ar


.ar

��


.ar

�


.ar


.ar


.ar


.ar


.ar


.ar


.ar

��


.ar

�


.ar

��


.ar


.ar


.ar


.ar


.ar


��


.ar


.ar

��


.ar


.ar


.ar


.ar


.ar


.ar

�33


.ar


.ar

�


.ar

�


.ar

��


.ar


.ar

��


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar

3


.ar


.ar


.ar�


.ar


.ar3


.ar


.ar��


.ar�


.ar��


.ar


.ar


.ar


.ar

SCENDING AND DESCENDING CHROMATICALLYSCENDING AND DESCENDING CHROMATICALLY

Starting from Cmaj7 Starting from Cmaj7 (Shape 1)(Shape 1) chromatically ascend keeping up the same formula until reaching Dmaj7, then descend to Cmaj7 and end.Notice that the arpeggio's link is produced through the 7th. Notice that the arpeggio's link is produced through the 7th.

epeat the same process with the six remaining shapes and also with the seven shapes of the dominant chord.epeat the same process with the six remaining shapes and also with the seven shapes of the dominant chord.

� � �� Cm7

Shape 1

�

1

4

2

�

1

2�

III

43

1

�

1

4

III

�

2

1

4

�

4

2

VIII

�

1

4

2

�

2

1

�

VIII

4

3

1

�

1

4

X

�

4

3

1

4

2

X

�

1

2

4

2

1

4



� � �� Cm7(b5)

Cø

Shape 1

�

1

2

�

1

2 �III

4

1

�

1

4

III

2

�

2

VIII

�

1

3

2

�

2

1

�

VIII

4

1

�

1

4

�

4

2

1

4

2

X

�

1

2

4

2

1

3

32

44

2

�

1

XV

X




Minor Seventh Arpeggio

Half-Diminished Arpeggio

(Néstor Crespo)

T b3 5 b7

T b3 b5 b7

LESSON 3


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar

��


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar�� 33


.arVIIIVIII

Shape 3Shape 3


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar


.ar

4

2

��

1

4

Shape 5Shape 5

T b3 b5 T b3 b5

� ��


a) Starting from Tonic , practice eighth notes upwards and downwards repeatedly.

�

�

� ��

�b) Starting from Tonic , practice eighth notes upwardsand downwards repeatedly.

�

� ��

��

2. ASCENDING AND DESCENDING CHROMATICALLY ( ��to��)

�

Cm7 Ascending

�� C#m7

�

� ��

�

�

Dm7

Descending

��

�

Dbm7

� ��

3

� �� 3� � �

3

� �� 3� � �

3. PATTERNS ( ��to��)

Pattern 1

�

3

� �� 3�� 3

� � �3

�� 3

� � �

3

� � �Descending

� �� 3

� �� 3

� � �� 3

� � �Pattern 2

�

3� �� 3� � ��3� � �

3

� � ��3

� � �

3

� � �

Descending

� � �� Cm7 - Cø

a)


7 ��Ebm7 - Ebø

7 ��Dm7 - Dø

7 ��Dbm7 - Dbø

7

� � �� Gm7 - Gø


b)

7 ��Bbm7 - Bbø

7 ��Am7 - Aø

7 ��Abm7 - Abø

7


m7 & Half-Diminished Arpeggio(Néstor Crespo)

PRACTICE ROUTINE


All examples are based on the first shape of the arpeggio Cm7. They have to be made with the six remaining shapes as well as the seven shapes of the half diminished arpeggio. (each exercise indicates the minimum and maximum tempo to be reached)

a) Starting from Cm7 (Shape 1) chromatically ascend keeping up the same shape until reaching Dm7, then descend to Cm7 and end.Notice that the arpeggio's link is produced through the b7.

Repeat the same process with the six remaining shapes and also with the seven shapes of the Half-diminished arpeggio.


EXERCISE 3


.ar


.ar


.ar


.ar


.ar


.ar

�


.ar

�


.ar

��


.ar


.ar

��


.ar

��


.ar


.ar


.ar


.ar


.ar


.ar

�


.ar

��


.ar

��


.ar


.ar



.ar


.ar

��


.ar


.ar


.ar


.ar


.ar

3


.ar

� �


.ar

3


.ar


.ar

��


.ar

��


.ar

��


.ar


.ar

��


.ar


.ar


.ar


.ar


.ar


.ar3


.ar


.ar��


.ar


.ar3


.ar


.ar��


.ar��


.ar��


.ar


.ar �


.ar


.ar


.ar


.ar

ASCENDING AND DESCENDING CHROMATICALLYASCENDING AND DESCENDING CHROMATICALLY

Starting from Cm7m7 (Shape 1)(Shape 1) chromatically ascend keeping up the same shape until reaching Dotice that the arpeggio's link is produced through the b7.otice that the arpeggio's link is produced through the b7.

peat the same process with the six remaining shapes and also with the seven shapes of the Half-diminished arpeggio.peat the same process with the six remaining shapes and also with the seven shapes of the Half-diminished arpeggio.

MUSICIAN FRIEND

You’ve just downloaded the Free Version of this Ebook:

Scales & Arpeggios for Bass by Néstor Crespo

If you wish, you can purchase for a very low cost the complete version, which includes a greater number of exercises, assignments, backing, tracks, etc. with the objective of securing the addressed concepts.

As an independent publishing house, we will be so thankful with your purchase, because in this way you are helping us to create even more teaching material.

From Buenos Aires, Argentina, we send you the best wishes for your musical career.

Néstor Crespo Serie20&20 Director

www.serie20y20.com.ar

LEGAL

Crespo, Néstor Rubén

1st bilingual edition - Buenos Aires: Nestor Crespo, 2017. EBook, DXReader Spanish-English Edition Digital Archive: download online 1. Music. I. Title.

ISBN 978-987-28103-4-4

Date of registration: 12/09/2017 SCALES & ARPEGGIOS / BASS 1st edition © Nestor Crespo, 2017 [email protected] www.nestorcrespo.ar www.serie20y20.com.ar Date of publication: December 2017 Replication Date: December 2017 The deposit established by Law 11.723 EDITED IN ARGENTINA Graphic Design: Edgardo Vallarino Recording Studio: Federico Palmero The backing tracks belongs to the author of the work. The content and originality of this document is the sole responsibility of its author.

The content and originality of this document is the sole responsibility of its author. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the

publisher. editor. Your violation is punishable by laws 11,723 and 25,446.


All the backing tracks belong to the author of this book, done in the recording

studio of Prof. Federico Palmero [email protected]

Cover Design: Edi Vallarino www.edivallarino.com.ar

Made in Buenos Aires, Argentina on September 2017


scales and arpeggios - bass - nestor crespo - free

Education

nestor crespo

scales

arpeggios

guitar

improvisation