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Extended Range Bass Guitar Neck Chart

Extended Range Bass Guitar Neck Chart

by Byron Santo

The objective of the Extended Range Bass chart is to assist the bassist in their transition from 4 string bass to 5-10 string bass or for the 4-string bassist wanting to learn the notes of the neck. One of the many problems that bassist encounter in their transition, is locating similar pitch notes on the extra strings of their new extended range bass. This is when the ERB chart comes in handy. It doesn't just provide the notes names, but the octave of the note and also in an easy to read octave color-coding.

The numbers beside the note names is a concept that I borrowed from MIDI keyboards. If you are not familiar with MIDI, each note within an octave is numbered. This allows for easy identification of notes and their octave. I started the octave numbering with "0" on the lowest note on a 10 string bass, which is a Low-C#. If you are not familiar with the 10-string bass the Low-C# is 10 half steps below the Low-B on a 5-string bass or two strings below the Low-B. I also color-coded the octave numbering. This allows for quick and easy identification of note(s) across multiple strings within the same octave.

Now for a few tips in using the ERB chart.

1) Scale Fingerings: Lets try a C Major scale (C-1, D-2, E-2, F-2, G-2, A-2, B-2 and C-2). Lets start on the A-string (A-1), third fret, which is C-1. We see that we can play a one octave C-Major scale on one string, C-1 (3rd fret) to C-2 (15th fret). Now lets try two strings, C-1 (3rd fret) to F-2 (8th fret) on the A-String (A-1) then E-2 (2nd fret) to C-2 (10th fret) on the D-String (D-2). As you can see by looking at the chart, the only other strings that C-2 can only be played on are at the 5th fret on the G-string and the open C string. We now have determined that starting on C-1 (3rd fret) of the A-String (A-1) we can play a one octave C major scale on one, two, three or four strings. This same concept can also be applied to string(s) below the A-string (A-1). Experiment with different scale fingerings and try to create your own unique scale fingering patterns.

2) Arpeggios: Lets try a C-Major arpeggio, C-1, E-2, G-2 and C-2. For this example we will start on the E-string (E-1), eighth fret, which is also a C-1. The E-2 can be played on the A-string (A-1), seventh fret. The G-2 can be played on the D-String (D-2) fifth fret and finally C-2 can be played on the G-String (G-2) fifth fret. Once again, because of the octave numbering and color-coding we can visually see every string that we can play this arpeggio on. Also, begin to experiment with different fingerings of this arpeggio.

3) Timbre Variations: Because of the octave numbering and color-coding we can easily experiment with timbre variations of similar pitch notes different strings. Lets use our C-1 again. On the B-String thirteenth fret, E-string eighth fret, and the A-string third fret. Try playing a C-1 and listen how the string size affects the timbre of the note.

This is only a few of the many ways that the ERB chart can be used, experiment and try to develop your own usages. In the future, ERB charts in all Major keys.

Byron Santo
www.BassGrimoirium.com