INTERMEDIATE TECHNIQUES
TECHNIQUES
lik e w ise at the top end w ith
th e h ig h e st note. T h is is an
e x e rcise w e sh o u ld attem pt in
all sc a le s and m o d es and in all
keys, requiring a co m b inatio n
of all our different po sition shift
stra te g ie s. M oreover, there is no
one co rre ct w ay, and w e sho uld
loo k at all the p o ssib ilitie s for
each e xe rcise; co n sid e rin g the
variab le of w h e re and h o w w e
shift, it is often qu ite su rp risin g
ju st h o w m any o ptio ns there
u su a lly are.
H ere, in our E m ajor exam ple,
I u se o ne p o ssib le co m b inatio n,
the first o ctave being played
a lm o st entirely on the E string.
In fact, I u s e the o p en A , the
4th note of the sca le , to shift
to m y first fin ger on B, the
se ve n th fret on the E strin g , and
then u se exten d ed fin ge rin g to
reach the o ctave, u sin g each
finger in turn to play the 5th,
6th, m ajor 7th, and octave.
N ext, I sh ift to m y first finger
on F# on the fourteenth fret on
the E strin g, a trickier shift, but
fro m here can co n tin u e to the
top D # u sin g a co m b inatio n of
regular four-fret sp a n s, a five-fret
sp an on the top strin g , and one
exten d ed fin ge rin g co verin g a
pe rfe ct fourth on the A strin g,
fro m the fifth to se co n d octave.
T h is is e asier to acco m p lish
in the upper re giste r w ith
sm a lle r stretch e s. Exp e rim en t
w ith other p o ssib ilitie s, using
different co m b in atio n s of our
sh iftin g stra te g ie s, as this is ju st
one e xam p le of h o w w e m ight
a cco m p lish this.
Exam ple 4
is an illustration of
w h e re it can be a go od stra te g y
to sh ift up on o n e strin g, in
th is ca se m oving through a
d im in ish e d sca le as over a D 7b9
chord and u sin g a pedal open D
to facilitate each sm all position
ad ju stm en t. A lth o u gh th is is not
tech n ically too hard, at le ast at
a reaso n ab le tem po , it can be
c o n fu sin g , m oving betw een
tw o different fin g e rin g s and
Example 1
Example 2
Example 3
Example 4
“FINDING GOOD FINGERING SOLUTIONS IS A BIG PART OF
LEARNING BASS-LINES AND POSITION SHIFTS ARE A MAJOR
CONSIDERATION. IT'S A G
ood
I
dea
TO
BE
c
LEAR ABO
u
T T
he
different
strategies
we
CAN
USE "
tw o different interval sh ifts, a se m ito n e or a tone, so take it slo w ly at first until you are clear ab out the
pattern. T h is idea co uld be u se d in other keys, u sin g a dead note instead of the open strin g to m aintain
the 16th-note pulse.
Finding go od fin gerin g so lu tio n s is a big part o f learnin g b a ss-lin e s and po sition sh ifts are a m ajor
co n sid eratio n . It's a go od idea to be clear about the different stra te g ie s w e can u se, and try to be
e xh a u stive in lo o kin g for d ifferent p o ssib ilitie s - th e re are a lw a y s m o re than you think. ■ ■
Elixir
Strings for Bass
Driven by Perfection.
Developed by B assists.
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