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in the ascending order of 1, 2, 3, and by using the same process as we did for Group A, we find that the possible
permutations are Bi = 1, 2, 3, Bii = 2, 3, 1, and Biii = 3, 1, 2. The left hand pattern shown in
Example 2
is actually 1 =
index, 2 = middle finger and 3 = little finger. You will find, however, that these condensed left hand patterns can be
applied to all seven note scales played in one position.
Example 3
uses exactly the same right hand raking pattern that appeared in
Example 8
of my column last
month. The only difference this month is the left hand fingering and the placement of accents, which now give
a feeling of groups of six. Obviously a group of six notes is two lots of three and by analysing the third example it
will become apparent that the left hand fingering pattern employed is 1, 2 and 3 (Bi) as opposed to the 3, 2, and 1
(Ai) pattern shown last month. Since we are attempting to build up speed, it is convenient that the left hand just
continually repeats the same three note pattern as it descends the entire scale and as the notes are continually
changing, a complex six note pattern is created that shifts to different degrees of the scale.
Example 4
creates a particularly angular sounding fusion run but the right hand raking pattern is exactly the
same as in the previous example. It is only the left hand pattern that has changed, which is now 3, 1 and 2 (Biii),
and the specific fingering employed throughout is the ring finger, then the first finger and then the middle finger.
If the root of the first six notes was taken as D (12th fret of the D string), then the pattern would be consistent
with outlining key notes in a D7 chord. It would be the 4th, minor 3rd, major 3rd, root, minor 7th, and finally the
major 3rd again. The second group of six notes starts with the accented semiquaver on the 'and' of beat two. This is
exactly the same pattern as the previous one, except that it starts a tritone lower, suggesting overall a D7b5 chord.
The final group of six in this example is the same as the first only an octave lower.
Example 5
uses a similar pattern
to the previous example, although
this pattern is extended to eight
notes, where the first note of five
is accented creating a group, as is
the first note of the second group
creating a group of three. The
group of three notes is shifted up
a semitone to make the pattern
ascend up the frets and is followed
by the first pattern of five, which is
shifted up another semitone. You
could carry on like this until you
ran out of frets but you can also
descend down the fingerboard.
Example 6
uses the same
right hand raking pattern as the
previous example but demonstrates
how you could ascend diatonically.
Examples 5
us that we can ascend by using a
repeating raking pattern on two
strings and just shifting the left
hand pattern up the fingerboard.
This is interesting, since due to
the fact that raking is created
by dragging your finger down
from a higher pitched string to
a lower pitched string, it means
that patterns tend to naturally
descend rather than ascend. This
can be overcome not only by using
ascending patterns, but also by
using patterns similar to the one
shown in
Example 7
. Here we
see that even though the pattern
descends in places, the overall
melodic shift is rising. This can
be accomplished by selecting
an appropriate raking pattern
and starting it on lower pitched
adjacent strings, that will then
transfer to the next higher pitched
adjacent strings without changing
the right hand fingering, as
demonstrated using a whole tone
scale in both bars of
Example 8
Example 9
another way that you can ascend
quickly, this time not by using
raking, but by including hammer
ons mixed with picked notes.
Since two of each group of three
notes is picked, at speed this gives
the illusion that all the notes are
picked. When combined with the
descending raking technique, this
can be an effective way to rapidly
ascend and descend a scale.
g l i X i r
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