whole step, whole step, half step, whole step, whole step, whole step, half step. Find each note by thinking about its relationship to the previous one.
If you can play a simple melody in multiple positions using different fingerings, you’ re developing real fretboard fluency, not just pattern memory.
lessons provides the foundation. Your interval training gives you the musical relationships. Now, breaking free from pattern dependence ties it all together into true musical fluency.
This exercise is humbling at first, but it’ s incredibly powerful. You’ re building true scale knowledge rather than just finger memory.
APPROACH 4: CROSS-STRING CONNECTIONS Practice connecting scale patterns across string boundaries in unconventional ways. If you know a major scale pattern starting on the E string, practice transitioning smoothly to continue the scale on the A string, then the D string, using different fingerings than your usual patterns.
The goal is to make the entire fretboard feel like one continuous scale rather than separate, disconnected boxes. Figure 7 shows an example of how you can take a G major scale and spread it across the different strings in a more diagonal manner.
APPROACH 5: MELODIC APPLICATION This is where the rubber meets the road. Take a simple melody like“ Happy Birthday” or“ Twinkle Twinkle Little Star” and try to play it on a single string or just limited to 2 adjacent strings. This will force you to not rely on patterns; think about the intervallic relationships between the notes.
THE PRACTICE ROUTINE Start small and be patient with yourself. Pick one scale such as the major scale, since it’ s so fundamental, and work through these approaches systematically. Spend a few minutes each day on one approach rather than trying to tackle everything at once.
Remember, depending on how long you’ ve been at this, you’ re potentially rewiring years of muscle memory and mental habits. This takes time, but the payoff is enormous. You’ ll find yourself naturally gravitating toward more interesting bass lines and feeling more confident when musical situations demand something beyond your usual patterns.
BREAKING FREE The irony of the pattern prison is that the very thing that helped you learn scales initially, memorized fingerings, can become the thing that limits your musical growth. By practicing scales as musical entities rather than finger exercises, you transform them from limitations into tools for creative expression.
Your fretboard knowledge from our earlier
FINAL THOUGHTS Pattern dependence isn’ t a playing weakness; it’ s a natural part of the learning process. But recognizing when you’ ve outgrown the patterns and need to think more musically is a sign of maturity as a player.
The approaches I’ ve outlined will challenge you, slowing you down initially. That’ s exactly what should happen when you’ re learning something new and valuable. Embrace the struggle, trust the process, and be patient with your progress.
As always, consistency is key. Even a few focused minutes each day will serve you better than occasional long sessions, playing things repeatedly that you already know.
Until next time, keep up the good work!
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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