Figure 3
Figure 4
This approach forces you to think about note relationships rather than hand positions. You’ ll start to see how the same scale exists everywhere on your bass, not just in three or four memorized boxes.
4-6, etc.), or fourths( 1-4-2-5-3-6-4-7, etc.), or fifths( 1-5-2-6-3-7-4-octave, etc.). This breaks your muscle memory dependence and forces you to really know where each scale degree lives in relation to the others. for a more dramatic sound. Here are a couple of examples in G major that are a little more challenging:
• Stacked thirds( triads) See figure 5.
• Stacked fifths- See figure 6.
APPROACH 2: INTERVAL JUMPING Rather than playing scales in stepwise motion( 1- 2-3-4-5-6-7-8), try interval-based approaches. You may already have experienced playing some of these, such as in thirds( 1-3-2-4-3-5-
Start simple; maybe just alternating between the root and third of your scale, then root and fifth. As you get comfortable, try more complex interval patterns. I like to go beyond these basic examples and stack two consecutive intervals
APPROACH 3: RANDOM STARTING POINTS Pick any note on your bass— let’ s say F # on the 4th fret of the D string. Now play a major scale starting from that note, but don’ t use a memorized pattern. Think about the intervals:
Figure 5
Figure 6
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