DAVID ETHERIDGE
FREE UP YOUR
FINGERBOARD. SAYS
DAVID ETHERIDGE
S
ome years ago I had a
great time playing in the
pit on panto gigs. They're
terrific fun, and some of
my memories include
crying with laughter at
the antics on stage. They're also
very demanding in the range of
music you might play: pop tunes,
standards, film and TV themes
and much more, and some you
have to busk off the top of your
head if anything goes contrary
to plan (which usually happens
every night).
One year the opening song
was 'Slap That Bass' but with
different words. I was using my
five-string bass guitar on it, and
when following the chords my
hands went through the usual
positions, but as if I was playing
four strings. I worked out a much
simpler fingering that used less
movement and also used the
bottom B string, but when it came
to the show my hands religiously
went back to the earlier fingering
that had more position shifts.
In the heat of the moment I was
using an approach that I was used
to, but was actually more difficult
to play.
So this time around we'll look at approaches to intervals with different fingerings: both grouping intervals under
the hand, and also using position shifts. Some double bass methods offer exercises in intervals, but only offer one
type of fingering: here we'll expand on this to show the options, and the principles can be used in any key.
Have a look at
Example 1
: a scale of C in thirds. At the start we're in half position, going up to first for the A and
B, and moving up to the higher notes with either 4, 2 fingering for semitones or a 4, 1 fingering for whole tones.
Coming back down, we're grouping the fingerings and shifts on one string and ending up in 1st position, although
you could play the last bar in half position just as easily if you wish.
EXAMPLE 1
fin g e rin g 1: 42042042
04142414
41424140
24024024
fin g e rin g
2:21414121
42414142
24141424
12141412
EXAMPLE 2
fin g e rin g
1:
42142142 14121414
41412141
44124144
fin g e rin g
2:21414121
42414142
24141424
12141412
EXAMPLE 3
fin g e rin g
1:
44002224 04112244
44224410
42110022
fin g e rin g
2:11414122 41414244
44241414
22141411
EXAMPLE 4
fin g e rin g
1:
44114412 44112244 44224411
42111144
fin g e rin g
2:11414241
21414244 44241412
14241411
Г
Г
Music To Your Ears
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to o n , an d
otter deergnt are trademarks ot W. L. Gore A Associate*. 02015 W. L. Gore A Associates, Inc.
tLX-SOI-.
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