hybrid approaches that blend different contrary motion phrases together and that move across the entire range of your bass .
Exercise 1 applies the contrary motion concept to a 2-octave major triad arpeggio . It breaks the arpeggio down into 2 note segments which are played in a descending fashion as the arpeggio ascends , and in an ascending fashion when the arpeggio descends . This is a fantastic approach to use if you want to cover a large range in a small amount of time . and performance applications . Strive to secure practice time to work on shapes and sounds that are completely new to you , so that you will learn to hear these less-familiar ideas naturally over time .
Until next time , have fun practicing !
EXERCISE 1
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 ...
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Exercise 2 uses 4 note sequenced scale fragments in C major . They are played in a descending fashion as the scale pattern ascends , and in an ascending fashion when the scale descends . Notice that this is not a purely sequenced scale form … It integrates some skips and jumps in between each 4-note sequenced fragment . It is a great sounding example and is an approach that I use frequently in my own lines .
EXERCISE 2
Exercise 3 is simply an A minor pentatonic scale played in 3 note sequences . Here is a fantastic way to take a simple and familiar pattern and make it sound MUCH more interesting by integrating contrary motion .
EXERCISE 3
Exercise 4 is a much more dissonant sounding exercise based on b5 intervals in contrary motion . It ’ s a bit of a technical challenge , so take your time and play with as much accuracy as possible !
EXERCISE 4
Exercise 5 is a sinister-sounding exercise based on major and minor triad combinations . It is an example of an approach that is based on fingerboard geometry more than anything else . Once you get it under your fingers and in your ears , see if you can successfully use pieces of it in your improvisational approaches to add some extra dark color !
EXERCISE 5
Once again , these are just a few very simple examples to get you started , and you will want to experiment regularly to find new and exciting ways to use contrary motion in your practice