So we have 1 , b3 , 4 , 5 , b7
In the key of A that would be A , C , D , E , G
Notice that the notes of a minor 7th chord are already in there, the 1 , b3 , 5 , b7.
In A that'd be A , C , E , G
These are the "solid" notes that you want to land on when jamming over a minor chord. In jamming you can play any notes you want bassically, as long as you land on the "good" notes at the right times, so that the listener can follow what you're doing. This means you can be playing your scales constantly while jamming, as long as you know when to land on the chord tones. A common place to play a strong chord tone is on the first beat of every bar or two bars. All the chord tones produce unique cadences with the overlying chord , but the Root is by far the strongest.
Below i have written out all the pentatonic scales of the bass neck. It reapeats at 12, so a 2 could just as easily be a 14, and a 5 could be a 17. The first one begins on the root, the second begins on the b3, the third begins on the 4, the fourth begins on the 5, and the last one begins on the b7.
After the scales i have written out the 1, b3, and 5, in all their positions over the neck. My hope is for you to see the pattern involved with the octave shapes, so that you can find a 1, b3, or 5, closeby, nomatter what position you are in.
For the visual learner, i've include scale charts and octave shapes.
Starting on the:
Ocatve shapes: All the A's on the neck. It could just as well be any other note if you shift the shapes up or down:
The order of the octave shapes in the groove: The root comes first, then the 5th, and the b3 comes last
Here's a full Amin7 arrpegio just to help you fill in visual gaps. seq|4_5|3_3|3_7|2_5|2_7|1_5|1_9|4_3|4_8|4_12|1_2|3_0|4_0|4_3|1_0|3_10|1_12|1_9|2_2|2_10|2_5|1_12|3_12|4_3|A min7 arpeggio|seq
Notice that the only note that's missing is the 4, aka the D.