DAVID ETHERIDGE
DOUBLE BASSJEDI
DAVID ETHERIDGE
DEVELOPS YOUR FINGER
STRENGTH
L
et's continue this month
with more interval
exercises. The main
reason (although there
are several!) that this
sort of work is useful is
to develop your knowledge of
intervals and distances across
the fingerboard, with several
different fingerings for each
interval and group of notes.
The reason that I'm looking at
intervals is that you'll be using
them to construct your bass
patterns and chord parts under
any progression. If you like,
it's an alphabet of fingerings
and position work that you
can combine in any number of
different ways to make up your
musical vocabulary.
So to start off this month,
let's look at fifths. Most of the
time you'll be use a standard
1, 4 fingering, as in
Example 1
.
Notice the top fingering: on the
way up I've used open strings
where appropriate in the key
of C, whereas on the way down
we're using 4, 1 fingerings. The
exception both up and down is
the diminished 5th between B and F natural, or the 4th and 7th notes of the scale. This applies in any key.
Of course, if you're playing in 'difficult' keys that have no open strings and lots of sharps or flats, then the
4, 1 fingering can be used going up and down. Your hands will move up for each pair of notes in exactly the
same distance as a major scale: tone, tone, semitone, three tones, semitone.
Now look at the lower fingering. Just as we grouped fourths as third intervals across the beat last time,
here we're staggering the fifths as fourths across the beat again. The second half of the beat is grouped to
the first half of the next beat, and I've given you some different pairings to use coming down each time.
One thing to note when playing fifths as a 1, 4 fingering, and also playing fourth intervals across two
EXAMPLE 1
EXAMPLE 2
fingering 1: 21424121 42141313 23T11312 24141224
fingering
2:14141414 14142313
31312141
41414142
EXAMPLE 3
EXAMPLE 4
fingering 1: 12041414 04131313 31313141
41414042
Г
Г
Music To Your Ears
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