fan of taking advantage of the symmetric tuning of the bass and applying symmetric forms to it . By doing this , we create a key-based matrix of sorts that cycles perpetually across the range of the bass both vertically and horizontally . When you see this matrix on a diagram ( such as the modal example in Figure 5 ), you begin to understand how your awareness of where you are crystallizes when you think more about how the shapes connect .
The modes of the major scale are a great place to begin or continue with if you ’ ve never practiced them before in full range and scope across all strings and across the entire range of your fretboard . In keeping with the ‘ symmetrical ’ theme presented , I love using 3 note-per-string forms that can be played from each scale degree of the major scale . Let ’ s not worry so much about the music theory for the moment ; instead let ’ s just look at how each of these patterns looks and fits together like symmetric pieces to a musical puzzle . the same distance between them ? This is very important when learning the fingerboard , because these relationships between intervals will help you to predictively know where to find the same pitch on a different string . This is foundational to understanding how diatonic ( sharing the same key center ) shapes relate to one another .
A diagram like this looks intimidating if you are told you have to memorize it , doesn ’ t it ? But the secret is knowing that a large matrix like this can be broken down into smaller , easierto-memorize segments that will always look the same as long as they start on the same scale degree . Let ’ s break this F major example down into a series of seven 3 note-per-string shapes connected to one-another . Each unique shape will begin on each unique scale degree , and there are seven total in the major scale . This lets you know that you will be relating each pattern to a unique number which represents the scale degree of the note that it starts on :
start to realize that any shape can start from any string … You can visually target a particular scale degree on the fingerboard and then move to start the corresponding shape from there , regardless of what string you are beginning from . This helps you to not be so dependent on seeing all of your shapes from the lowest pitched string on your bass .
I realize that for some of you the idea of learning the modal shapes is not new , but I hope that this will at least inspire you to begin to start practicing playing through every note on the fingerboard for each key center you target in your practice routine . I will save the music theory and expansion concepts for a future column , but for now , take advantage of the matrix !
Figure 5 shows every note on the fingerboard in the key of F major , labeled by its function related to the key center . The ‘ R ’ s are the roots of the scale . In this case ‘ F ’, which is the root of F major . The other numbers correspond to the degrees of each note in the scale :
F = 1 G = 2 A = 3 Bb = 4 C = 5 D = 6 E = 7
Notice the locations of each of the identical scale degrees as they appear on the different frets and strings . See how they always have
This series would start over again on the F located on the E string at the 12 th fret , and continue in the same order , until you ran out of frets .
So what do you do with this ? Well for starters , this can be applied to every key center on the fingerboard . It simply would ‘ shift ’ to match the new key . The order never changes , so you can learn and memorize these once and apply them to all keys . My recommendation is to learn and memorize one shape at a time , and then begin to connect them in order , moving in both an ascending and descending direction . Once you have all seven memorized , you can then begin to play each of these shapes completely up and down the entire range of your bass without interruption . Once you can do that , then you
FIGURE 5
Adam Nitti Nashville-based Adam Nitti balances his roles as a solo artist , sideman , and educator . He has filled the bass chair for Kenny Loggins , Carrie Underwood , Dave Weckl Band , Michael McDonald , Susan Tedeschi , Steven Curtis Chapman , Mike Stern , Brent Mason , Wayne Krantz , and Christopher Cross , while also releasing five solo CDs to date . As a Nashville session bassist he has played on multiple Grammywinning and Grammy-nominated albums , and is also the founder of ...
AdamNittiMusicEducation . com