Play Scales Like Flea: A Bass Lesson Using RHCP’s Rhythmic Formula

Want to practice scales like Flea? In this lesson, we’ll explore a unique scale exercise inspired by the Red Hot Chili Peppers legend himself. Using the F# minor Aeolian scale and a rhythmic phrasing trick pulled straight from “Around the World,” this practice routine will help you add groove and personality to your playing.

What Makes Flea’s Bass Style Stand Out

Flea isn’t just known for his stage presence. Behind the wild energy and unpredictable jumps is a player with serious control, rhythmic creativity, and a deep understanding of phrasing. His lines often combine funk roots with punk aggression and a surprising amount of precision.

One of the standout aspects of his playing is how he uses rhythmic groupings to build energy and momentum. It’s not just what notes he plays — it’s how he plays them.

A Look at “Around the World”

To see this in action, listen to the intro of “Around the World.” Flea kicks off the song with a distorted bass riff that’s built on an unusual rhythmic structure: 3+3+3+3+2+2. That adds up to sixteen — the number of sixteenth notes in a standard bar. This grouping blends odd and even accents to create syncopation and movement that feels unpredictable but tight.

Applying It to Scale Practice

We’re going to use that same 3+3+3+3+2+2 phrasing to practice the F# minor Aeolian scale:
F#, G#, A, B, C#, D, E

This exercise comes from Bass Gym – 101 Scales for Mastering the Fingerboard, specifically Exercise #50. But instead of just running the notes up and down, we’ll shape them using the same rhythmic phrasing Flea uses in “Around the World.”

How to Practice It

Start slowly. Use a metronome and focus on keeping the rhythm clean in your plucking hand. Make sure the groupings are clear: count it as 3-3-3-3-2-2 while playing through the scale. You’ll quickly notice how different this feels from just playing evenly spaced notes.

As you get more comfortable, gradually increase the tempo. Try moving it around the neck, using different string sets, or applying the phrasing in reverse.

Try It With Other Scales

Once you’ve nailed it with F# minor Aeolian, try using the same 3+3+3+3+2+2 phrasing with other tonal material. You’ll start to discover new rhythmic feels and phrasing ideas you can bring into your own playing — and not just when practicing.