Re: Patterns for fluency?

[js]

2 things, both sequences.

1) mathematical sequence

G: 1
12 124
D: 1 12 124 124 24 4
A: 1 12 124 124 24 4
E: 124 24 4


Descend in reverse. practice in 1/2 steps, 7th fret to 1st fret. Use a
metronome and gradually incerase speed. Substitute 3 for 2 in the sequence.


2) diatonic sequence

Take a 4 (5,6) string 1 position modal pattern, ex:


G Mixolydian, IIIpos

G: 134
D: 124
A: 124
E: 24

Now, run it as a 4 note sequence:



G: 13
134
D: 1 12 124 24 4
A: 12 124 124 24 4
E: 24 4


Again, descend the oipposite way.

Try 3 note, 5 note, 6 note, etc sequences.

Try using other modes. For some modes, you may have to shift up or down a
1/2 step to make the sequence work. It's good practice..

Try hooking all the modal positions together in one big sequence. How? Buy
my book... : )


That should keep you busy.


--
Check out my band, West Eats Meat http://www.myspace.com/westeatsmeat

My Homepage, Back By Popular Demand: http://www.jmsjazz.com

"I don't mean to sound bitter, cold, or cruel, but I am, so that's how it
comes out."

- Bill Hicks









"Chris Stiles" <xhw6-7asp@spamex.com> wrote in message
news:fevef4coxn.fsf@random-node.example.org...
> Hi --
>
> I was just wondering if there was a book out there that contained musical
> patterns that could be practised for fluency (timing and movement) and
also
> help aid the ear - specifically for the bass. I practise modes, scales
and
> various arpeggios currently along with intervallic things, it would be
nice to
> practise something somewhat more musical - that was still one remove away
from
> practising licks/lines themselves.
>
> Ideally I'd love something like Sheets of Sound - but for the bass. If
anyone
> hasn't seen this:
> http://www.sheetsofsound.net/sos1.htm
>
> --
> regards, chris

[david teague]

Hi Bill

Please explain for this upright bassist what you mean by the sequences you
list in the post quoted below. It looks like something I might want to do,
but I can't know until I figure out what you mean.

What G string fret are you starting on in the first sequence? Did the
posting wrap or did you intend that part of the G string sequence be on
another line?

Same questions about the other strings.

In the Mixolydian Sequence, which fret is the III position?

Is there a chance you could write this in standard notation and attach an
image of it either to a alt.guitar.bass post or to email to me directly? (An
image in jpg, gif, png format?)

BTW I have played a bit of guitar. Since there is no end of confusion in the
upright world about how to refer to the "positions" on the double bass
finger board, I refer to my bass has having invisible frets to locate the
notes. On the G string, fret 1 is an A, and fret 7 is where the "D" on the G
string is located, just like a guitar. My teacher understands and we don't
need to worry about 1/2, 1st, 2nd, 2 1/2 Positions, etc, except to decipher
an occasional chart.

I wish you Low Notes
David Teague
Double Bass tuned in Fifths CGDA



"js" <NOSPAM@carolina.rr.com> wrote in message
news:46402058$0$27042$4c368faf@roadrunner.com...
>2 things, both sequences.
>
> 1) mathematical sequence
>
> G: 1
> 12 124
> D: 1 12 124 124 24 4
> A: 1 12 124 124 24 4
> E: 124 24 4
>
>
> Descend in reverse. practice in 1/2 steps, 7th fret to 1st fret. Use a
> metronome and gradually incerase speed. Substitute 3 for 2 in the
> sequence.
>
>
> 2) diatonic sequence
>
> Take a 4 (5,6) string 1 position modal pattern, ex:
>
>
> G Mixolydian, IIIpos
>
> G: 134
> D: 124
> A: 124
> E: 24
>
> Now, run it as a 4 note sequence:
>
>
>
> G: 13
> 134
> D: 1 12 124 24 4
> A: 12 124 124 24 4
> E: 24 4
>
>
> Again, descend the oipposite way.
>
> Try 3 note, 5 note, 6 note, etc sequences.
>
> Try using other modes. For some modes, you may have to shift up or down a
> 1/2 step to make the sequence work. It's good practice..
>
> Try hooking all the modal positions together in one big sequence. How? Buy
> my book... : )
>
>
> That should keep you busy.
>
>
> --
> Check out my band, West Eats Meat http://www.myspace.com/westeatsmeat
>
> My Homepage, Back By Popular Demand: http://www.jmsjazz.com
>
> "I don't mean to sound bitter, cold, or cruel, but I am, so that's how it
> comes out."
>
> - Bill Hicks
>
>
>
>
>
>
>
>
>
> "Chris Stiles" <xhw6-7asp@spamex.com> wrote in message
> news:fevef4coxn.fsf@random-node.example.org...
>> Hi --
>>
>> I was just wondering if there was a book out there that contained musical
>> patterns that could be practised for fluency (timing and movement) and
> also
>> help aid the ear - specifically for the bass. I practise modes, scales
> and
>> various arpeggios currently along with intervallic things, it would be
> nice to
>> practise something somewhat more musical - that was still one remove away
> from
>> practising licks/lines themselves.
>>
>> Ideally I'd love something like Sheets of Sound - but for the bass. If
> anyone
>> hasn't seen this:
>> http://www.sheetsofsound.net/sos1.htm
>>
>> --
>> regards, chris
>
>

[david teague]

Damn and blast. In about line 24 below, I should have said fret 2, not fret
1. Sorry.
DBT

"david teague" <davidbteague@verizon.net> wrote in message
news:z0zfi.1438$s%.1134@trnddc02...
> Hi Bill
>
> Please explain for this upright bassist what you mean by the sequences you
> list in the post quoted below. It looks like something I might want to
> do, but I can't know until I figure out what you mean.
>
> What G string fret are you starting on in the first sequence? Did the
> posting wrap or did you intend that part of the G string sequence be on
> another line?
>
> Same questions about the other strings.
>
> In the Mixolydian Sequence, which fret is the III position?
>
> Is there a chance you could write this in standard notation and attach an
> image of it either to a alt.guitar.bass post or to email to me directly?
> (An image in jpg, gif, png format?)
>
> BTW I have played a bit of guitar. Since there is no end of confusion in
> the upright world about how to refer to the "positions" on the double bass
> finger board, I refer to my bass has having invisible frets to locate the
> notes. On the G string, fret 1 is an A, and fret 7 is where the "D" on the
> G string is located, just like a guitar. My teacher understands and we
> don't need to worry about 1/2, 1st, 2nd, 2 1/2 Positions, etc, except to
> decipher an occasional chart.
>
> I wish you Low Notes
> David Teague
> Double Bass tuned in Fifths CGDA
>
>
>
> "js" <NOSPAM@carolina.rr.com> wrote in message
> news:46402058$0$27042$4c368faf@roadrunner.com...
>>2 things, both sequences.
>>
>> 1) mathematical sequence
>>
>> G: 1
>> 12 124
>> D: 1 12 124 124 24 4
>> A: 1 12 124 124 24 4
>> E: 124 24 4
>>
>>
>> Descend in reverse. practice in 1/2 steps, 7th fret to 1st fret. Use a
>> metronome and gradually incerase speed. Substitute 3 for 2 in the
>> sequence.
>>
>>
>> 2) diatonic sequence
>>
>> Take a 4 (5,6) string 1 position modal pattern, ex:
>>
>>
>> G Mixolydian, IIIpos
>>
>> G: 134
>> D: 124
>> A: 124
>> E: 24
>>
>> Now, run it as a 4 note sequence:
>>
>>
>>
>> G: 13
>> 134
>> D: 1 12 124 24 4
>> A: 12 124 124 24 4
>> E: 24 4
>>
>>
>> Again, descend the oipposite way.
>>
>> Try 3 note, 5 note, 6 note, etc sequences.
>>
>> Try using other modes. For some modes, you may have to shift up or down a
>> 1/2 step to make the sequence work. It's good practice..
>>
>> Try hooking all the modal positions together in one big sequence. How?
>> Buy
>> my book... : )
>>
>>
>> That should keep you busy.
>>
>>
>> --
>> Check out my band, West Eats Meat http://www.myspace.com/westeatsmeat
>>
>> My Homepage, Back By Popular Demand: http://www.jmsjazz.com
>>
>> "I don't mean to sound bitter, cold, or cruel, but I am, so that's how it
>> comes out."
>>
>> - Bill Hicks
>>
>>
>>
>>
>>
>>
>>
>>
>>
>> "Chris Stiles" <xhw6-7asp@spamex.com> wrote in message
>> news:fevef4coxn.fsf@random-node.example.org...
>>> Hi --
>>>
>>> I was just wondering if there was a book out there that contained
>>> musical
>>> patterns that could be practised for fluency (timing and movement) and
>> also
>>> help aid the ear - specifically for the bass. I practise modes, scales
>> and
>>> various arpeggios currently along with intervallic things, it would be
>> nice to
>>> practise something somewhat more musical - that was still one remove
>>> away
>> from
>>> practising licks/lines themselves.
>>>
>>> Ideally I'd love something like Sheets of Sound - but for the bass. If
>> anyone
>>> hasn't seen this:
>>> http://www.sheetsofsound.net/sos1.htm
>>>
>>> --
>>> regards, chris
>>
>>
>
>

[ptooner]

>>
>> BTW I have played a bit of guitar. Since there is no end of confusion in
>> the upright world about how to refer to the "positions" on the double
>> bass finger board, I refer to my bass has having invisible frets to
>> locate the notes. On the G string, fret 1 is an A,

Doesn't that make G# a bit difficult??

Gerry

and fret 7 is where the "D" on the
>> G string is located, just like a guitar. My teacher understands and we
>> don't need to worry about 1/2, 1st, 2nd, 2 1/2 Positions, etc, except to
>> decipher an occasional chart.
>>
>> I wish you Low Notes
>> David Teague
>> Double Bass tuned in Fifths CGDA
>>
>>
>>
>> "js" <NOSPAM@carolina.rr.com> wrote in message
>> news:46402058$0$27042$4c368faf@roadrunner.com...
>>>2 things, both sequences.
>>>
>>> 1) mathematical sequence
>>>
>>> G: 1
>>> 12 124
>>> D: 1 12 124 124 24 4
>>> A: 1 12 124 124 24 4
>>> E: 124 24 4
>>>
>>>
>>> Descend in reverse. practice in 1/2 steps, 7th fret to 1st fret. Use a
>>> metronome and gradually incerase speed. Substitute 3 for 2 in the
>>> sequence.
>>>
>>>
>>> 2) diatonic sequence
>>>
>>> Take a 4 (5,6) string 1 position modal pattern, ex:
>>>
>>>
>>> G Mixolydian, IIIpos
>>>
>>> G: 134
>>> D: 124
>>> A: 124
>>> E: 24
>>>
>>> Now, run it as a 4 note sequence:
>>>
>>>
>>>
>>> G: 13
>>> 134
>>> D: 1 12 124 24 4
>>> A: 12 124 124 24 4
>>> E: 24 4
>>>
>>>
>>> Again, descend the oipposite way.
>>>
>>> Try 3 note, 5 note, 6 note, etc sequences.
>>>
>>> Try using other modes. For some modes, you may have to shift up or down
>>> a
>>> 1/2 step to make the sequence work. It's good practice..
>>>
>>> Try hooking all the modal positions together in one big sequence. How?
>>> Buy
>>> my book... : )
>>>
>>>
>>> That should keep you busy.
>>>
>>>
>>> --
>>> Check out my band, West Eats Meat http://www.myspace.com/westeatsmeat
>>>
>>> My Homepage, Back By Popular Demand: http://www.jmsjazz.com
>>>
>>> "I don't mean to sound bitter, cold, or cruel, but I am, so that's how
>>> it
>>> comes out."
>>>
>>> - Bill Hicks
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>> "Chris Stiles" <xhw6-7asp@spamex.com> wrote in message
>>> news:fevef4coxn.fsf@random-node.example.org...
>>>> Hi --
>>>>
>>>> I was just wondering if there was a book out there that contained
>>>> musical
>>>> patterns that could be practised for fluency (timing and movement) and
>>> also
>>>> help aid the ear - specifically for the bass. I practise modes, scales
>>> and
>>>> various arpeggios currently along with intervallic things, it would be
>>> nice to
>>>> practise something somewhat more musical - that was still one remove
>>>> away
>>> from
>>>> practising licks/lines themselves.
>>>>
>>>> Ideally I'd love something like Sheets of Sound - but for the bass. If
>>> anyone
>>>> hasn't seen this:
>>>> http://www.sheetsofsound.net/sos1.htm
>>>>
>>>> --
>>>> regards, chris
>>>
>>>
>>
>>
>
>

[david teague]

Gerry "ptooner" asked,
>
> Doesn't that make G# a bit difficult??

G# is at fret 6 on the D string. If you have a riff that runs above and
below the open A, you do it around the A on fret 7. Except in fast
passage work, use of open strings is typically discouraged.

In defence of bass tuned in fifths. I have been doing this for 3 years. The
principal bass in the Toronto Symphony is Joel Quarrington
http://www.joelquarrington.com/ He tunes his bass in fifths. He has
published a recording of his playing the Sarasate's violin piece
"Zigeunerweisen" (Gypsy Airs), on his bass - tuned in fifths, CGDA. He does
it in 8:33, not a easy pace, even for the violin. I have heard recordings
of violinists playing it in times ranging from 7:30 to 9 minutes.

Red Mitchell, the very famous jazz upright bassist, was the modern day
restorer of fifths tuning. There are literally hundreds of bassists who tune
in fifhts. Not all of them are as vocal about it as I. Thomastic thought
highly enough of Red Mitchell's playing to manufacture strings for tuning in
fifths. They sell enough to contiue to make them. Pirastro has recently
added a set of strings for tuning in fifhts.


Would someone please answer the question about what fret to start the
"patterns for fluency" that (I believe) Bill Hicks posted earlier?

David Teague

"ptooner" <someguy@onthe.net> wrote in message
news:yVEfi.3046$c_4.453@bignews2.bellsouth.net...
>
>
>>>
>>> BTW I have played a bit of guitar. Since there is no end of confusion in
>>> the upright world about how to refer to the "positions" on the double
>>> bass finger board, I refer to my bass has having invisible frets to
>>> locate the notes. On the G string, fret 1 is an A,
>
> Doesn't that make G# a bit difficult??
>
> Gerry
>
> and fret 7 is where the "D" on the
>>> G string is located, just like a guitar. My teacher understands and we
>>> don't need to worry about 1/2, 1st, 2nd, 2 1/2 Positions, etc, except to
>>> decipher an occasional chart.
>>>
>>> I wish you Low Notes
>>> David Teague
>>> Double Bass tuned in Fifths CGDA
>>>
>>>
>>>
>>> "js" <NOSPAM@carolina.rr.com> wrote in message
>>> news:46402058$0$27042$4c368faf@roadrunner.com...
>>>>2 things, both sequences.
>>>>
>>>> 1) mathematical sequence
>>>>
>>>> G:
>>>> 1
>>>> 12 124
>>>> D: 1 12 124 124 24
>>>> 4
>>>> A: 1 12 124 124 24 4
>>>> E: 124 24 4
>>>>
>>>>
>>>> Descend in reverse. practice in 1/2 steps, 7th fret to 1st fret. Use a
>>>> metronome and gradually incerase speed. Substitute 3 for 2 in the
>>>> sequence.
>>>>
>>>>
>>>> 2) diatonic sequence
>>>>
>>>> Take a 4 (5,6) string 1 position modal pattern, ex:
>>>>
>>>>
>>>> G Mixolydian, IIIpos
>>>>
>>>> G: 134
>>>> D: 124
>>>> A: 124
>>>> E: 24
>>>>
>>>> Now, run it as a 4 note sequence:
>>>>
>>>>
>>>>
>>>> G: 13
>>>> 134
>>>> D: 1 12 124 24 4
>>>> A: 12 124 124 24 4
>>>> E: 24 4
>>>>
>>>>
>>>> Again, descend the oipposite way.
>>>>
>>>> Try 3 note, 5 note, 6 note, etc sequences.
>>>>
>>>> Try using other modes. For some modes, you may have to shift up or down
>>>> a
>>>> 1/2 step to make the sequence work. It's good practice..
>>>>
>>>> Try hooking all the modal positions together in one big sequence. How?
>>>> Buy
>>>> my book... : )
>>>>
>>>>
>>>> That should keep you busy.
>>>>
>>>>
>>>> --
>>>> Check out my band, West Eats Meat http://www.myspace.com/westeatsmeat
>>>>
>>>> My Homepage, Back By Popular Demand: http://www.jmsjazz.com
>>>>
>>>> "I don't mean to sound bitter, cold, or cruel, but I am, so that's how
>>>> it
>>>> comes out."
>>>>
>>>> - Bill Hicks
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>> "Chris Stiles" <xhw6-7asp@spamex.com> wrote in message
>>>> news:fevef4coxn.fsf@random-node.example.org...
>>>>> Hi --
>>>>>
>>>>> I was just wondering if there was a book out there that contained
>>>>> musical
>>>>> patterns that could be practised for fluency (timing and movement) and
>>>> also
>>>>> help aid the ear - specifically for the bass. I practise modes,
>>>>> scales
>>>> and
>>>>> various arpeggios currently along with intervallic things, it would be
>>>> nice to
>>>>> practise something somewhat more musical - that was still one remove
>>>>> away
>>>> from
>>>>> practising licks/lines themselves.
>>>>>
>>>>> Ideally I'd love something like Sheets of Sound - but for the bass.
>>>>> If
>>>> anyone
>>>>> hasn't seen this:
>>>>> http://www.sheetsofsound.net/sos1.htm
>>>>>
>>>>> --
>>>>> regards, chris
>>>>
>>>>
>>>
>>>
>>
>>
>
>

[ptooner]

"david teague" <davidbteague@verizon.net> wrote in message
news:Asfhi.50$bO2.0@trnddc05...
> Gerry "ptooner" asked,
>>
>> Doesn't that make G# a bit difficult??
>
> G# is at fret 6 on the D string. If you have a riff that runs above and
> below the open A, you do it around the A on fret 7. Except in fast
> passage work, use of open strings is typically discouraged.

I guess I should have included a smiley. I was referring to this:
"BTW I have played a bit of guitar. Since there is no end of confusion in
>> the upright world about how to refer to the "positions" on the double
>> bass finger board, I refer to my bass has having invisible frets to
>> locate the notes. On the G string, fret 1 is an A,

I don't quite see how on a G string fret 1 can be A rather than G#. Did I
miss something here?

Gerry

[david teague]

"ptooner" <someguy@onthe.net> wrote in message
news:kbghi.973$3a.92@bignews9.bellsouth.net...
>
> "david teague" <davidbteague@verizon.net> wrote in message
> news:Asfhi.50$bO2.0@trnddc05...
>> Gerry "ptooner" asked,
>>>
>>> Doesn't that make G# a bit difficult??
>>
>> G# is at fret 6 on the D string. If you have a riff that runs above and
>> below the open A, you do it around the A on fret 7. Except in fast
>> passage work, use of open strings is typically discouraged.
>
> I guess I should have included a smiley. I was referring to this:
> "BTW I have played a bit of guitar. Since there is no end of confusion in
>>> the upright world about how to refer to the "positions" on the double
>>> bass finger board, I refer to my bass has having invisible frets to
>>> locate the notes. On the G string, fret 1 is an A,
>
> I don't quite see how on a G string fret 1 can be A rather than G#. Did I
> miss something here?


Gerry,

That's a typographical error. Sorry. Noted the typo in a message posted
almost as soon as the original request appeared.

On the G string, fret 1 is a G#, of course, and fret 2 is an A, etc exactly
like the G string on any guitar.
On the A string, fret 1 is an A# etc.

Thinking I had addressed the typo, I thought you were commenting on a real
problem, playing a run down the A string towards the open string, and having
to shift back up the neck to the G# on the D string. I hope my answer makes
some sense in that context.

It is so easy to type something, look at it, it looks right because you
just typed it. so you press send, when you should let it get cold then read
it again. Nobody does that. Or if they do, it isn't ever enough.

Sorry about the testy reply.

Now. Do you know where Bill meant to put his fluency patterns? I really do
want to know.

Warmest Regards
David Teague

[ptooner]

>
> Now. Do you know where Bill meant to put his fluency patterns? I really do
> want to know.
>
> Warmest Regards
> David Teague
>
>

Sorry, David, I went back and re-read it and I don't think I know what he's
getting at. It appears to me to be just finger exercises.
Gerry
>

[david teague]

"ptooner" <someguy@onthe.net> wrote in message
news:wAwhi.1251$3a.294@bignews9.bellsouth.net...
>
>>
>> Now. Do you know where Bill meant to put his fluency patterns? I really
>> do want to know.
>>
>> Warmest Regards
>> David Teague
>>
>>
>
> Sorry, David, I went back and re-read it and I don't think I know what
> he's getting at. It appears to me to be just finger exercises.
> Gerry

Thanks Gerry. I went back and tried to make some sense of it. I can't make
sense of it either.

I was hoping Bill Hicks would pick up on the thread and help out.

David