PHIL
MANN
FUNCTIONAL
THEORY FOR
BASSISTS:
VOLUME 1
SBL Course Workbook
FUNCTIONAL
THEORY FOR
BASSISTS: Course Description
VOLUME 1 Starting with the basics, this course will guide you
through the various functional aspects of harmony and
with Phil Mann theory.
The basics of music theory can be found everywhere, but
will a better understanding of harmony and theory really
improve your bass playing? And how can you put all of
that information into action? The ability to understand
and recognize concepts like key centres, intervals and
time signatures is absolutely essential for any aspiring
musician, and in this course you’re going to find out why.
Lesson 1: MAJOR SCALES
MAJOR SCALES (PERFORMED AS FORMULAS)
Major Scale Formula (04:58)
T- T- S T- T- T- T- S T
Tone Tone Semi Tone Tone Tone Tone Semi Tone
C Major Scale (11:44)
G 2 4 5
D 2 3 5
A 3 5
Frets
Major Scale Intervals (14:34)
G 6 7 8
D 3 4 5
A 1 2
Intervals
Exercise: Play a major scale using the formula from any point on your instrument.
2: Natural Minor SCALE
NATURAL MINOR SCALE (PERFORMED AS FORMULAS)
Natural Minor (Aeolian) Scale Formula (07:21)
T- S T- T- T- S T- T- T
Tone Semi Tone Tone Tone Semi Tone Tone Tone
C Natural Minor Scale (11:12)
G 3 5
D 3 5 6
A 3 5 6
Frets
Minor Scale Intervals (12:20)
G b7 8
D 4 5 b6
A 1 2 b3
E
Intervals
Exercise: Play a natural minor scale using the formula from any point on your instrument.
Lesson 3: Harmonization - Major SCALE
HARMONIZATION OF THE MAJOR SCALE (MODES AS FORMULAS)
C Major Scale (05:50)
C D E F G A B C
T T ST T T T ST
C Major Scale Starting on D (Dorian) (06:50)
D E F G A B C D
T ST T T T ST T
The 7 Modes Derived From The Major Scale (11:50)
1. Ionian (Major Scale)
2. Dorian
3. Phrygian
4. Lydian
5. Mixolydian
6. Aeolian (Natural Minor)
7. Locrian
All of the modes above are derive from the major scale. Each mode contains the same notes as
the major scale, but we’re starting (and finishing) on different notes.
Lesson 4: Triads
TRIADS (MAJOR, MINOR, DIMINISHED & AUGMENTED)
C Major Scale (03:13)
C D E F G A B C
ROOT 3RD 5TH
Types of 3rds (06:46)
1. Major 3rd (4 semi-tones from your starting note)
2. Minor 3rd (3 semi-tones from your starting note)
Types of Triads (07:40)
1. Major triad: Major 3rd + Minor 3rd
2. Minor triad: Minor 3rd + Major 3rd
3. Diminished triad: Minor 3rd + Minor 3rd
4. Augmented triad: Major 3rd + Major 3rd
Lesson 5: Harmonized Major Scale
HARMONIZED MAJOR SCALE (THREE NOTE CHORDS), NASHVILLE
NUMBERING SYSTEM
Harmonization of the Major Scale Using Three Notes Per Chord (03:55)
I C D E F G A B C = Maj
II D E F G A B C D = Min
III E F G A B C D E = Min
IV F G A B C D E F = Maj
V G A B C D E F G = Maj
VI A B C D E F G A = Min
VII B C D E F G A B = Dim
ROOT 3RD 5TH
Examples of the Number System (13:07)
II - V - I in the key of C
| Dmin | Gmaj | Cmaj |
VI - II - V - I in the key of C
| Amin | Dmin | Gmaj |Cmaj |
II - V - I in the key of D
| Emin | Amaj | Dmaj |
Lesson 6: Key Signatures
KEY SIGNATURES (FLATS AND SHARPS) - CYCLE OF 5THS
Identifying Key Signatures (06:40)
? ### 4
4 ∑ ∑
T
A
B
Key signature
Order of Sharp Notes (07:30)
1 2 3 4 5 6 7
F# C# G# D# A# E# B#
Defining a Key Signature - Sharps (09:50)
1. Go to the last #
2. Raise the note a semi-tone
3. The resulting note is your Key Signature.
Example #1 (10:43)
?# 4
4 ∑
1. One Sharp = F#
∑
2. F# raised a semi-tone is G
3. The Keys Signature is G major
T
A
B
Example #2 (13:03)
? ## 4
4 ∑
1. 2 Sharps = C#
∑
2. C# raised a semi-tone is D
3. The Keys Signature is D major
T
A
B
Lesson 6: Key Signatures
Order of Flat Notes (16:15)
1 2 3 4 5 6 7
Bb Eb Ab Db Gb Cb Fb
Defining a Key Signature - Flats (17:34)
1. Go to the penultimate Flat.
2. That is your Key Signature.
3. If you only have 1 Flat, then you’re in the Key of F.
Example #1 (18:20)
? bb 4
4 ∑
1. There are 2 Flats (Bb & Eb). The
∑
penultimate Flat is Bb.
2. The Keys Signature is Bb major.
T
A
B
Example #2 (19:18)
? bb b 4
b 4 ∑
1. There are 4 Flats. The penultimate Flat is
∑
Ab.
2. The Key Signature is Ab major.
T
A
B
Lesson 7: 7th Arpeggios
7th ARPEGGIOS - MAJ 7th, DOM 7th, MIN 7th & MIN 7th (b5)
C Major Scale (03:05)
C D E F G A B C
ROOT 3RD 5TH 7TH
Types of 7th Chord Arpeggios of a Major Scale (05:23)
1. Major 7th: Major 3rd + Minor 3rd + Major 3rd
2. Dominant 7th: Major 3rd + Minor 3rd + Minor 3rd
3. Minor 7th: Minor 3rd + Major 3rd + Minor 3rd
4. Half-Diminished / Minor 7th (b5): Minor 3rd + Minor 3rd + Major 3rd
Harmonization of the Major Scale Using Four Notes Per Chord (14:15)
I C D E F G A B C = Maj7
II D E F G A B C D = Min7
III E F G A B C D E = Min7
IV F G A B C D E F = Maj7
V G A B C D E F G = Dom7
VI A B C D E F G A = Min7
VII B C D E F G A B = Min7 (b5)
ROOT 3RD 5TH 7TH
To learn more about the harmonization of the major scale, check out the “Chord Tone Concepts”
course in the SBL course library.
Lesson 8: Pentatonic/Blues Scales
PENTATONIC AND BLUES SCALES AS FORMULAS
C Major Scale Review (04:22)
I II III IV V VI VII I
C D E F G A B C
T T ST T T T ST
Major Scale Intervals (05:20)
G 6 7 1
D 3 4 5
A 1 2
Notes that create tension. If you take them out,
you’ll have a major scale consisting of 5 notes
called the Major Pentatonic Scale
C Major Pentatonic Scale as a Formula (07:48)
I II III V VI I
C D E G A C
T T min 3rd T min 3rd
G 6 1
D 3 5
A 1 2
E
Lesson 8: Pentatonic/Blues Scales
C Minor Scale Review (10:50)
I II bIII IV V bVI bVII I
C D Eb F G Ab Bb C
T ST T T ST T T
G b7 1
D 4 5 b6
A 1 2 b3
E
Notes that create tension. If you take them out,
you’ll have a minor scale consisting of 5 notes
called the Minor Pentatonic Scale.
C Minor Pentatonic Scale as a Formula (12:37)
I bIII IV V bVII I
C Eb F G Bb C
min 3rd T T min 3rd T
G b7 1
D 4 5
A 1 b3
E
Lesson 8: Pentatonic/Blues Scales
C Minor Blues Scale as a Formula (14:07)
I bIII IV bV V bVII I
C Eb F Gb G Bb C
min 3rd T ST ST min 3rd T
G b7 1
D 4 b5 5
A 1 b3
E
Blue Note
