SBL - L684 3 Things To Get Shredded

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3 Things to Get Shredded
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FREE LESSON BOOK: 3 Things to Get Shredded 02
3 Things to Get Shredded
Join Scott Devine as he demonstrates three

specific exercises you should use each and
every time you pick up your bass that will
help you get bass shredded.
Backing Track
To put these exercises in context, a simple C Major/A Minor “pad” track is used. You can find it here:
“C Major - A Minor”
Ambient Pads by Vishal Bhojane
“The mechanical elements of our technique are really what help

us execute on the bass... If we haven’t got [it] ‘dialed in’, it’s
gonna have a detrimental effect on our output as a bass player.
Preparation
Before starting this lesson, be sure you are familiar with:
— The C Major Scale

— The arpeggios within the C Major Scale
— The Modes within the C Major Scale
The 3 Different Types of Lines

There are really only three types of lines that we can execute on the bass:
— Linear lines
— Arpeggiated lines
— Sequenced Intervals
Using the C Major Scale as a starting point, let’s take a look at each type,
and how we can incorporate them into our own bass lines.
Shred 01
Linear Lines
Linear line: One note comes after the other as you play the scale:
Exercise 1
µ[C] œ œ œ
œ œ œ œ
(1:54) œ œ œ
?4 œ œ œ œ œ
4 œ
9 10 12 14 16 17 16
¤
7 9 10 12
7 8 10
8 10
3
œ œ œ œ œ
? œ œ œ œ œ œ œ œ
œ œ œ œ œ œ Ó
14 12 10 9
¤
12 10 9 7
10 8 7 5 2 3
8 7 5 3 5
Shred 02
Arpeggiated Lines
Arpeggiated line: Play each note of a chord, for example, Cmaj7:
Exercise 2
µ[Cmaj7]
œ œ œ œ œ
(2:13) œ œ œ œ œ
?4 œ œ œ œ œ œ
w
4
12 16 17 16 12 9
¤
9 10 14 10 9
10 10
8 12 12 8
Shred 03
Sequenced Interval Lines
Sequenced Intervals: Play an interval of the scale:
Exercises 3A—3E
µ[C]
(2:35) œ œ œ œ œ
? 44 œ œ œ œ œ œ œ œ œ œ
A. 3rds:
7
¤
7 9 7 10 9 10
7 8 7 10 8 10
8 10
µ[C]
(2:43)
œ œ œ œ œ œ œ œ
? 44 œ œ œ œ œ œ œ
B. 4ths:
7 9
¤
7 9 10 7 9 10
8 10 7 8 10
8 10
µ[C] œ
(2:50) œ œ œ œ œ œ
? 44 œ œ œ œ œ œ œ œ
C. 5ths:
7 9 12
¤
7 9 10 7 9 10
10 7 8 10
8 10
µ[C] œ
(2:56) œ œ œ œ œ œ œ
? 44 œ œ œ œ œ œ
œ
D. 6ths:
7 9 10 12
¤
7 9 10 7 9 10
7 8 10
8 10
µ[C] œ
œ œ œ œ
(2:59) œ œ œ œ œ
? 44 œ œ œ œ œ œ
E. 7ths:
7 9 10 12 14 16
¤
9 10
7 8 10 12 14 15
8 10
Key point! Everything you play is going to be a combination of these three types of lines!
“Every time you pick up the bass, you should be running

exercises that help you execute each of these styles of lines.”
Ascending and Descending Lines

Each of the three line types (linear, arpeggiated, and
sequenced intervals) can also be split into two sub-
categories: ascending and descending. For example,
using the C Major Scale:
µ[C]
(3:40) œ œ
? 44 œ œ œ œ œ œ
Ascending:
¤
7 9 10
7 8 10
8 10
µ[C]
(3:45)
Descending:
¤
10 9 7
10 8 7
10 8
But it’s important to note that the movements of the

plucking hand are very different in these two exercises.
Practice your ascending lines and your descending lines as

Practice Tip two separate things to begin with. Then, bring them together.
Linear Exercises
Ascending (Linear)
Let’s take a look at a linear ascending exercise using the
different modes* of the C Major Scale. Play at any speed you
are comfortable with until you can fluidly play each mode.
Exercise 4
C Ionian Mode D Dorian Mode
µ[C]
(4:36) œ œ œ œ œ
? 44 œ œ œ œ œ œ œ œ œ
œ œ
2 4 5 4 5 7
¤
2 3 5 5 7
3 5 5 7 8
E Phrygian Mode F Lydian Mode
5
œ œ œ œ œ œ œ œ œ
? œ œ œ œ œ œ œ
7 9 9 10
¤
7 9 10 9 10 12
7 8 10 8 10 12
G Mixolydian Mode A Aeolian Mode

9 œ œ œ œ œ œ œ
? œ
10 12 12 14
¤
10 12 14 12 14 15
10 12 14 12 14 15
B Locrian Mode C Ionian Mode
œ œ œ œ œ œ œ
13 œ œ œ œ œ œ œ œ
? œ
14 16 14 16 17
¤
14 15 17 14 15 17
14 15 17 15 17
*To learn more about the modes of a scale, check out

“FUNCTIONAL THEORY FOR BASSISTS VOL. 1” in the
SBL Academy Library.
Descending (Linear)
Alternatively, let’s take a look at a linear descending exercise
using the different modes of the C Major Scale. Again, play
at any speed you are comfortable with until you can fluidly
play each mode.
Exercise 5
µ[C]
(5:36) œ
5 4 2 7 5 4
¤
5 3 2 7 5
5 3 8 7 5
? œ œ œ œ œ œ œ œ œ
9 7 10 9
¤
10 9 7 12 10 9
10 8 7 12 10 8
9
?
12 10 14 12
¤
14 12 10 15 14 12
14 12 10 15 14 12

13 œ œ œ œ œ œ
? œ
16 14 17 16 14
¤
17 15 14 17 15 14
17 15 14 17 15
Ascending and Descending (Linear)

Finally, let’s take a look at a linear ascending and
descending exercise using the different modes of the C
Major Scale.
Exercise 6
µ[C]
(6:04) œ œ œ œ œ œ œ
? 44 œ œ œ œ œ œ œ œ œ
2 4 5 7 5 4
¤
2 3 5 7 5
3 5 8 7 5
5
? œ œ œ œ œ œ œ
7 9 10 9
¤
7 9 10 12 10 9
7 8 10 12 10 8
? œ
10 12 14 12
¤
10 12 14 15 14 12
10 12 14 15 14 12
13 œ œ œ œ œ œ
? œ
14 16 17 16 14
¤
14 15 17 17 15 14
14 15 17 17 15
Arpeggiated Exercises
Ascending (Arpeggiated)
Start by playing all the arpeggios* in the key of C Major from
the lowest note to the highest:
Exercise 7
C Major D Minor
(6:34) œ œ
? 44 œ œ œ œ œ
œ
4 5
¤
5 7
3 7 5 8
E Minor F Major
3 œ œ œ
? œ œ œ œ œ
7 9
¤
9 10
7 10 8 12
G Dominant A Minor
5 œ œ œ œ œ
? œ œ œ
10 12
¤
12 14
10 14 12 15
B Minor 7b5 C Major

œ œ œ œ
7 œ œ œ
? œ
14 16
¤
15 17
14 17 15 19
*To learn more about the harmonization of the major scale,

check out “FUNCTIONAL THEORY FOR BASSISTS VOL. 1”
in the SBL Academy Library.
Descending (Arpeggiated)
Next, play the arpeggios in the key of C Major in the reverse
order—highest to lowest:
Exercise 8
C Major D Minor
(6:55) œ
? 44 œ œ œ œ
œ œ œ
4 5
¤
5 2 7
3 8 5
E Minor F Major
3 œ œ œ
? œ œ œ œ
œ
7 9
¤
9 10
10 7 12 8
G Dominant A Minor
5 œ œ œ œ
œ œ œ œ
?
10 12
¤
12 14
14 10 15 12
B Minor 7b5 C Major

œ œ œ œ
7 œ œ œ
? œ
14 16
¤
15 17
17 14 19 15
Ascending and Descending (Arpeggiated)

Finally, let’s combine the linear ascending and descending
exercises using the different arpeggios of the C Major
Scale:
Exercise 9
(7:24) œ œ
? 44 œ œ œ œ œ œ
4 5
¤
5 7
3 7 8 5

3 œ œ œ
? œ œ œ œ œ
7 9
¤
9 10
7 10 12 8
5 œ œ œ œ
? œ œ œ œ
10 12
¤
12 14
10 14 15 12

œ œ œ œ
7 œ œ œ
? œ
14 16
¤
15 17
14 17 19 15
Sequenced Interval
Exercises
Ascending in 3rds
Play the C Major Scale ascending using a 3rd (above)as your
interval after each note of the scale:
Exercise 10A
µ[C]
(8:12) œ œ œ œ ˙
? 44 œ œ œ œ œ œ œ œ œ œ
¤
7 9 7 10 9 10
7 8 7 10 8 10
8 10
Exercise 10B
µ[C] œ
œ œ œ œ œ œ œ œ œ ˙
(8:25)
œ œ œ
? 44 œ
14 16 14 17 16 19 17
¤
14 15 14 17 15 17
15 17
Descending in 3rds
Play the C Major Scale descending using a 3rd (below) as
your interval after each note of the scale:
Exercise 11
µ[C]
œ œ œ œ œ œ
(8:33) œ œ œ œ œ œ
? 44 œ œ ˙
17 14 16 14
¤
17 15 17 14 15 14
17 15 17 14 15
Ascending in 4ths
Play the C Major Scale ascending using a 4th (above) as
your interval after each note of the scale:
Exercise 12A
µ[C] œ œ
œ œ œ œ œ œ œ œ œ ˙
(8:48) œ œ
? 44 œ
14 16 17 19 21
¤
15 17 14 15 17 19 21 22
15 17
Exercise 12B
µ[C]
(8:57)
œ œ œ œ œ œ œ ˙
? 44 œ œ œ œ œ œ œ
7 9
¤
7 9 10 7 9 10
8 10 7 8 10
8 10
Ascending and Descending in 4ths

Play the C Major Scale descending using a 4th as your
interval after each note of the scale:
Exercise 13
µ[C]
(9:04)
? 44 œ œ œ œ œ œ œ œ œ œ œ w
œ
¤
10 9 7
10 8 7 10 8 7
10 8 7 8

Exercise 14
µ[C]
? 44 œ œ œ œ œ
œ œ œ œ œ w
œ œ
5 4 2
¤
3 2 5 3 2
5 3 2 0 3
Ascending in 6ths
Exercise 15
µ[C]
(9:11) œ œ œ œ œ ˙
œ
7 9 10 12
¤
7 9 10 7 9 10
7 8 10
8 10

Exercise 16
µ[C]
(9:17) œ œ œ œ
œ œ œ œ
?4 œ œ œ œ
4
7 9 10 12
¤
9 10
7 8 10 12
8 10
4
œ œ œ œ
œ œ œ
? œ œ œ ˙
12 10 9 7
¤
10
12 10 8 7
10 8
Soloing Ideas
Once you have all these types of lines under your fingers,
you can mix all of these ideas together to create great-
sounding solos using nothing but the C Major Scale:
L inear Sequenced Intervals (3rds) L inear

Moderately, Freely ~q�108
µ[C]
œ™ œ œ ≈ ÍÍÍÍÍ ÍÍÍÍÍÍÍ œ ÍÍÍÍÍÍ
8va
(9:39)
? 44 œ œ œ œ
≈ œ œ œ œ œ œ œ œ™ œ œ œ
œ
3
ÍÍÍÍÍ ÍÍÍÍÍÍÍ ÍÍÍÍÍÍ
3
21 19 17 16 14 16 14
¤
19 17 15 14 14 17 14 15 17 17 15 14
17
Sequenced Intervals (3rds) L inear

 ÍÍÍÍÍÍ 
3 ÍÍÍÍÍÍÍÍÍÍÍÍ
8va loco
œ œ œ œ œ ™ œÍÍÍÍÍ œ œ œ ÍÍÍÍÍÍÍÍÍÍÍÍ
œ œ ˙
? ˙ Ó Ó
ÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍ
¤
14 15 14 17 17 15 14
15 15 17 17 15 14
Sequenced Intervals (6ths) L inear

8va
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 
6
? œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ ˙
Œ
12 12 14 14 16 16 17 19 21 19 17 21
¤ 14 15 17
Sequenced Intervals (5ths)

8va
ÍÍÍÍÍÍÍÍÍÍÍÍ 
8 œ œ œ œ™ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍ
? œ œ œ œ œ œ™
œ
21 19
ÍÍÍÍÍÍÍÍÍÍÍÍ 17
19
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 16ÍÍÍÍÍÍÍÍÍÍÍÍ
16
¤
19 17 15 14
L inear

ÍÍÍÍÍÍÍÍÍÍÍÍ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
loco
9
œ œ bœ œ œ œ œ œ œ œ œ œ
? Œ Ó
14
ÍÍÍÍÍÍÍÍÍÍÍÍ
¤
17 16 15 15 15
17 17 17 17 17 17
Arpeggiated
>œ 
œ œ œ œ œ œ œ ÍÍÍÍÍÍÍ ÍÍÍÍÍÍ
11 œ œ œ œ œ œ™
? œ œ œ œ
œ œ œ œ
Ó
17 21 19 16
ÍÍÍÍÍÍÍ ÍÍÍÍÍÍ
¤
17 17 17 12
15 19 19 17 15 14 14 15 15
15 12 13 15
Sequenced Intervals (4ths)


œ ÍÍÍÍÍÍÍÍÍÍÍÍ
8va
13 œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ ÍÍÍÍÍÍ
œ œ
? œ
Œ ≈
ÍÍÍÍÍÍÍÍÍÍÍÍ 14 16 17 19 21 21 19 17 16
¤
14 17 14 15 17 19
15 14 15 17
Arpeggiated
loco
>œ
œ œ œ >œ œ œ >œ œ
œ œ œ œ œ œ œ. œ
15
? ≈ œ œ œ œ œ œ œ
œ œ œ œ œ
1/2
19 16 17 14 16 12 12 9
¤
17 15 14 12 14 10 9
19 15 15 12 10 12 10
12 10 8 7 7

17 œ. ≈ œ # œj œ #œ œ œ ÍÍÍÍÍÍÍÍ
? œ œ œ œ œ œ #œ. œ œ œ
Œ Ó
7 12 11 12 8 9
ÍÍÍÍÍÍÍÍ
¤
9 10 10 9
7 10 12 10 9 12
8
L inear
19 œ œ œ #œ œ œ œ œ œ œ œ œ ÍÍÍÍÍÍÍÍÍÍÍ
? œ #œ œ œ œ œ œ
œ œ œ œ œ œ
9 11 12 9 11 9
ÍÍÍÍÍÍÍÍÍÍÍ
¤
10 12 12 10 9 7
12 10 9 10 7 5
10 8 7 8 8
Practice these exercises—in some way, shape or form—
Practice Advice! every single time you pick up your bass! Every. Single. Time.
Everything that you can ever play on the bass will be derived
from one of these three types of lines!
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3 Things to Get Shredded

Join Scott Devine as he demonstrates three

“The mechanical elements of our technique are really what help

— The C Major Scale

The 3 Different Types of Lines

“Every time you pick up the bass, you should be running

Ascending and Descending Lines

But it’s important to note that the movements of the

Practice your ascending lines and your descending lines as

C Ionian Mode D Dorian Mode

E Phrygian Mode F Lydian Mode

G Mixolydian Mode A Aeolian Mode

B Locrian Mode C Ionian Mode

*To learn more about the modes of a scale, check out

C Ionian Mode D Dorian Mode

E Phrygian Mode F Lydian Mode

G Mixolydian Mode A Aeolian Mode

B Locrian Mode C Ionian Mode

Ascending and Descending (Linear)

C Ionian Mode D Dorian Mode

E Phrygian Mode F Lydian Mode

G Mixolydian Mode A Aeolian Mode

B Locrian Mode C Ionian Mode

B Minor 7b5 C Major

*To learn more about the harmonization of the major scale,

B Minor 7b5 C Major

Ascending and Descending (Arpeggiated)

C Ionian Mode D Dorian Mode

E Phrygian Mode F Lydian Mode

G Mixolydian Mode A Aeolian Mode

B Locrian Mode C Ionian Mode

Ascending and Descending in 4ths

Ascending and Descending in 5ths

Ascending and Descending in 7ths

L inear Sequenced Intervals (3rds) L inear

Sequenced Intervals (3rds) L inear

Sequenced Intervals (6ths) L inear

Sequenced Intervals (5ths)

Sequenced Intervals (4ths)

Practice these exercises—in some way, shape or form—

Step into a whole new world

Players Path platform, guidance from beginner to pro

Courses from the world’s greatest bassists and educators

Weekly live-streamed interactive classes

Incredible community supported by expert student mentors

Try SBL Membership FREE for 14 days TRY IT FREE

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