BASS
BASIC STRING SKIPPING | Adam Nitti
This lesson is going to be mostly conceptual , but I hope it will inspire some new ideas as you work to create new and interesting bass lines and musical phrases . In previous lessons I have emphasized the importance of not becoming reliant on patterns as a bass player . However , patterns are still extremely valuable when it comes to relating shapes to sounds . We can take advantage of their symmetric properties in navigating the fingerboard while still allowing ourselves to be led by our ears . They are the building blocks that help us relate shapes to harmonic colors and tonalities that we internalize through ear training . As an added bonus , they also provide us with an everexpanding library of components we can use to further develop our technique and dexterity . Because so many of us have been introduced to basic scale patterns on the bass , I thought I would start there and share an approach to playing them in a way that breaks the monotony of just ascending and descending through their respective scale degrees .
String-skipping allows us to play through scales , arpeggios , or other musical components from a slightly more intervallic perspective . The idea is to break down the complete full-range patterns into groups of notes on individual strings and then vary the order those string groupings are played in . String-skipping works ideally with symmetric patterns ( such as two note per string or three note per string forms ) but can be applied to any shape that utilizes at least a span of three strings on your bass . Let ’ s start with an example that is based on a three note per string pattern for the major scale . The fullrange pattern for a four-string bass is shown in FIGURE 1 on the next page .
Most of us first learn patterns like these playing through them starting with the root note and then ascending and descending through the entire form . We see this applied to the G major scale in EXAMPLE 1 .
Now let ’ s apply a string-skipping approach . As you can see , figure 1 demonstrates a symmetric pattern for this scale . Each string has three notes assigned to it . Symmetric patterns are fantastic for developing dexterity because they are quickly committed to musclememory due to the same number of notes played on all strings . In this case , since we have four strings , each with three notes assigned in the pattern , we can reorder the strings using a string skipping approach so that we are actually playing the string groupings out of order .
In the following example , imagine we are starting with the three E string notes and then jumping straight to the three D string notes . ( SEE FIGURE 2 )
Then we hop down to the A string , play those three notes and then skip up to the G string and play its three notes . ( SEE FIGURE 3 )
So , in the shape ’ s entirety we play the strings in the following order : E string , D string , A string , G string .
But wait ! We ’ re not totally done yet ... We need to go the opposite direction to make the exercise complete . The string groupings in reverse would be played : G string , A string , D string , E string . See how the entire exercise is played in EXAMPLE 2 .
As you can see and hear , this exercise uses the exact same G major scale and pattern and takes on a much more interesting sound than the traditional ascending / descending approach . The intervallic jumps that take place through string skipping open up the sound considerably and also present a little more of a technical challenge to play clean at speed without any hiccups when transitioning between strings .
Now let ’ s use a different scale and apply the same approach . EXAMPLE 3 uses the same string skipping approach with a Bb natural minor ( Aeolian ) scale .
EXAMPLE 4 demonstrates string skipping using an A Mixolydian scale .
These exercises are just the tip of the iceberg
when it comes to applying the concept of string skipping . Although these examples adapt basic scale forms by changing the order of the string groupings , you can also incorporate elements such as sequencing and intervallic groupings to create some really incredible sounding lines . I hope you will take some time to experiment with this approach as you grow your skills in improvisation and melodicism .
Until next time , have fun in the shed !
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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