Playing scales/patterns on 1 string

[bassman2]

hello everyone,

it is interesting to note that whilst this way of practicing is not
ergonomically economic - meaning that there is a fair way to jump
compared to playing across strings - it does offer many other
advantages, including:

1. transposition of patterns becomes easier
2. fingerboard learning is helped
3. use of open strings (as applicable)

Any others, does anybody else actually ever practice/play this way?

Regards to all

[Pt]

On May 9, 5:10 pm, bassman2 <vince_angelon...@hotmail.com> wrote:
> hello everyone,
>
> it is interesting to note that whilst this way of practicing is not
> ergonomically economic - meaning that there is a fair way to jump
> compared to playing across strings - it does offer many other
> advantages, including:
>
> 1. transposition of patterns becomes easier
> 2. fingerboard learning is helped
> 3. use of open strings (as applicable)
>
> Any others, does anybody else actually ever practice/play this way?
>
> Regards to all


I sometimes play on one or two strings.
Depends on the song and the sound I want.
But I try not to go above the 10th fret unless I have to.
Fretting above the 10th fret produces harmonics I don't care for.

Pt

[bassman2]

On May 10, 2:52 pm, Pt <pea...@yahoo.com> wrote:
> On May 9, 5:10 pm, bassman2 <vince_angelon...@hotmail.com> wrote:
>
> > hello everyone,
>
> > it is interesting to note that whilst this way of practicing is not
> > ergonomically economic - meaning that there is a fair way to jump
> > compared to playing across strings - it does offer many other
> > advantages, including:
>
> > 1. transposition of patterns becomes easier
> > 2. fingerboard learning is helped
> > 3. use of open strings (as applicable)
>
> > Any others, does anybody else actually ever practice/play this way?
>
> > Regards to all
>
> I sometimes play on one or two strings.
> Depends on the song and the sound I want.
> But I try not to go above the 10th fret unless I have to.
> Fretting above the 10th fret produces harmonics I don't care for.
>
> Pt

Yep..I guess I ws more looking at it like a technical exercise but if
you can make it musical, all the better for it, Pt

[Kloka-mo']

I practice that a little bit. Transposition of patterns isn't special to
this technique, as it applies to learning scales across the fingerboard as
well, if not easier that way. Anyway, practicising up and down the neck is
really handy for taking a fresh look at things, if this is not your norm.
It helps me figure out how things interlock. On my acoustic and upright,
with higher actions, it makes some things easier. Easier and faster to keep
your hand at a set shape, and slide up for a few notes, than to change it
all around, sometimes.

--
-rob Bartlett, TN
O>
/(\)
^^
"bassman2" <vince_angeloni_1@hotmail.com> wrote in message
news:1178748619.264894.275610@e65g2000hsc.googlegr oups.com...
> hello everyone,
>
> it is interesting to note that whilst this way of practicing is not
> ergonomically economic - meaning that there is a fair way to jump
> compared to playing across strings - it does offer many other
> advantages, including:
>
> 1. transposition of patterns becomes easier
> 2. fingerboard learning is helped
> 3. use of open strings (as applicable)
>
> Any others, does anybody else actually ever practice/play this way?
>
> Regards to all
>

[Deputy Dumbya Dawg]

"bassman2" <vince_angeloni_1@hotmail.com> wrote in message
news:1178748619.264894.275610@e65g2000hsc.googlegr oups.com...
> hello everyone,
>
> it is interesting to note that whilst this way of practicing
> is not
> ergonomically economic - meaning that there is a fair way to
> jump
> compared to playing across strings - it does offer many
> other
> advantages, including:
>
> 1. transposition of patterns becomes easier
> 2. fingerboard learning is helped
> 3. use of open strings (as applicable)
>
> Any others, does anybody else actually ever practice/play
> this way?
>
> Regards to all

the bass player in the band Morphine plays a two string bass.


peace
dawg
>

[bassman2]

On May 11, 12:29 am, "Deputy Dumbya Dawg"
<Dtyy_Dumbyaa_...@whiteehouuse.gov> wrote:
> "bassman2" <vince_angelon...@hotmail.com> wrote in message
>
> news:1178748619.264894.275610@e65g2000hsc.googlegr oups.com...
>
>
>
>
>
> > hello everyone,
>
> > it is interesting to note that whilst this way of practicing
> > is not
> > ergonomically economic - meaning that there is a fair way to
> > jump
> > compared to playing across strings - it does offer many
> > other
> > advantages, including:
>
> > 1. transposition of patterns becomes easier
> > 2. fingerboard learning is helped
> > 3. use of open strings (as applicable)
>
> > Any others, does anybody else actually ever practice/play
> > this way?
>
> > Regards to all
>
> the bass player in the band Morphine plays a two string bass.
>
> peace
> dawg
>
>
>
> - Hide quoted text -
>
> - Show quoted text -- Hide quoted text -
>
> - Show quoted text -

No kidding....what strings, E and A?

[Derek Tearne]

bassman2 <vince_angeloni_1@hotmail.com> wrote:

> On May 11, 12:29 am, "Deputy Dumbya Dawg"
> <Dtyy_Dumbyaa_...@whiteehouuse.gov> wrote:

> > the bass player in the band Morphine plays a two string bass.

Played - he died of a heart attack on stage aged 46 (yikes! That's my
age! I'm never getting on stage again!)

> No kidding....what strings, E and A?

He played using a slide and Wikipedia says the strings were often tuned
to the same note, although my ears say they were tuned a fifth apart on
'thursday' and the other hit of theirs who's name I can't remember at
the moment.

--- Derek

--
Derek Tearne - derek@url.co.nz
Many Hands - Trans Cultural Music from Aotearoa/New Zealand
http://www.manyhands.co.nz/

[Eric D. Braden]

On May 9, 5:10 pm, bassman2 <vince_angelon...@hotmail.com> wrote:
> hello everyone,
>
> it is interesting to note that whilst this way of practicing is not
> ergonomically economic - meaning that there is a fair way to jump
> compared to playing across strings - it does offer many other
> advantages, including:
>
> 1. transposition of patterns becomes easier
> 2. fingerboard learning is helped
> 3. use of open strings (as applicable)
>
> Any others, does anybody else actually ever practice/play this way?
>
> Regards to all

I'm in the process of trying to go the opposite way. I'm addicted to
(or limited to, more accurately) doing most of my playing on one or
two strings. So I spend a lot of time running from open up to the 9th/
10th fret. It feels amateurish, so I'm trying to develop my "scale"
skills vertically instead of horizontally.

[Pt]

On May 11, 10:35 am, "Eric D. Braden" <bradener...@hotmail.com> wrote:

> I'm in the process of trying to go the opposite way. I'm addicted to
> (or limited to, more accurately) doing most of my playing on one or
> two strings. So I spend a lot of time running from open up to the 9th/
> 10th fret. It feels amateurish, so I'm trying to develop my "scale"
> skills vertically instead of horizontally.



I am primarily a guitar player (40 years) so playing positions is
normal for me.
But I think differently when playing bass (35 years).
I know where all the notes are on the neck but I am looking for tone
rather than the easiest way of playing the notes.
Plus I do some sliding.
Most of the fills I play are across the neck.

Pt

[Oliver Sampson]

On 9 May 2007 15:10:19 -0700, bassman2 <vince_angeloni_1@hotmail.com>
wrote:

>hello everyone,
>
>it is interesting to note that whilst this way of practicing is not
>ergonomically economic - meaning that there is a fair way to jump
>compared to playing across strings - it does offer many other
>advantages, including:
>
>1. transposition of patterns becomes easier
>2. fingerboard learning is helped
>3. use of open strings (as applicable)
>
>Any others, does anybody else actually ever practice/play this way?
>
>Regards to all

Well, I actually incorporated it into one of my lessons:
http://www.oliversampson.com/index.php?id=lessons/ps1-1

(I really should put a few more up there.)

Enjoy!
--
Oliver Sampson Support Indie Music!
olsam@quickaudio.com http://cdbaby.com/group/mrsampson
http://www.oliversampson.com

[Hedonistaynyik]

On May 11, 8:35 am, "Eric D. Braden" <bradener...@hotmail.com> wrote:
> On May 9, 5:10 pm, bassman2 <vince_angelon...@hotmail.com> wrote:
>
> > hello everyone,
>
> > it is interesting to note that whilst this way of practicing is not
> > ergonomically economic - meaning that there is a fair way to jump
> > compared to playing across strings - it does offer many other
> > advantages, including:
>
> > 1. transposition of patterns becomes easier
> > 2. fingerboard learning is helped
> > 3. use of open strings (as applicable)
>
> > Any others, does anybody else actually ever practice/play this way?
>
> > Regards to all
>
> I'm in the process of trying to go the opposite way. I'm addicted to
> (or limited to, more accurately) doing most of my playing on one or
> two strings. So I spend a lot of time running from open up to the 9th/
> 10th fret. It feels amateurish, so I'm trying to develop my "scale"
> skills vertically instead of horizontally.

But it isn't really amateurish. Somewhere I have notes on the
professional and well known bassists who have used this technique -
either some, a lot, or even - always. I always smile when I watch
some group from the 70's and the bass player just plays one string.
Why not? Lots of cool motion there, too - it's part performance.

And sometimes, it sounds right too. It's one of the ways I like to
practice most - one string, then two, then across the fretwork, then
back to one. The people I play with sometimes like it one way too and
sometimes another, but mostly they tell me to go ahead and keep with
the variation.

Oblio

[Brian Running]

>> it is interesting to note that whilst this way of practicing is not
>> ergonomically economic - meaning that there is a fair way to jump
>> compared to playing across strings - it does offer many other
>> advantages,

I disagree. It may be an interesting technical exercise to you, but
other than being a diversion, it's got no practical advantages.

>> including:
>> 1. transposition of patterns becomes easier

>> 2. fingerboard learning is helped

Explain both of these, if you would, please.

>> 3. use of open strings (as applicable)

I really don't see how you'd learn the use of open strings any better
this way. There's more than one string.

>> Any others, does anybody else actually ever practice/play this way?

There're all those washtub players, I guess.

[Eric D. Braden]

On May 16, 9:21 pm, Hedonistaynyik <Oblio.VonZip...@gmail.com> wrote:
> On May 11, 8:35 am, "Eric D. Braden" <bradener...@hotmail.com> wrote:
>
>
>
>
>
> > On May 9, 5:10 pm, bassman2 <vince_angelon...@hotmail.com> wrote:
>
> > > hello everyone,
>
> > > it is interesting to note that whilst this way of practicing is not
> > > ergonomically economic - meaning that there is a fair way to jump
> > > compared to playing across strings - it does offer many other
> > > advantages, including:
>
> > > 1. transposition of patterns becomes easier
> > > 2. fingerboard learning is helped
> > > 3. use of open strings (as applicable)
>
> > > Any others, does anybody else actually ever practice/play this way?
>
> > > Regards to all
>
> > I'm in the process of trying to go the opposite way. I'm addicted to
> > (or limited to, more accurately) doing most of my playing on one or
> > two strings. So I spend a lot of time running from open up to the 9th/
> > 10th fret. It feels amateurish, so I'm trying to develop my "scale"
> > skills vertically instead of horizontally.
>
> But it isn't really amateurish. Somewhere I have notes on the
> professional and well known bassists who have used this technique -
> either some, a lot, or even - always. I always smile when I watch
> some group from the 70's and the bass player just plays one string.
> Why not? Lots of cool motion there, too - it's part performance.
>
> And sometimes, it sounds right too. It's one of the ways I like to
> practice most - one string, then two, then across the fretwork, then
> back to one. The people I play with sometimes like it one way too and
> sometimes another, but mostly they tell me to go ahead and keep with
> the variation.
>
> Oblio- Hide quoted text -
>
> - Show quoted text -

The positives I get from it are some very nice slides where they're
needed. The negative so far is a lot of fret noise. But, I imagine
fret noise is largely about my actual fretting technique, my
particular bass/strings, EQ, etc.

[Kloka-mo']

You can't be serious Brian, can you? I can't even comprehend that you don't
see some good points here. Nothing being all encompassing I guess, but...
come on.
1. Pattern playing?
2. Breaks away from typical boxed patterns, and turns them into linear
scales, making a pattern player actually have to think differently?
3. Droning open notes as a reference?

Upright and fretless playing.

Wait, you were just looking for a debate right? Damn, I bit. *whew* I'm
tired.
Night!
--
-rob Bartlett, TN
O>
/(\)
^^
"Brian Running" <brunning@XXameritechXX.net> wrote in message
news:%RY2i.416$u56.44@newssvr22.news.prodigy.net.. .
>>> it is interesting to note that whilst this way of practicing is not
>>> ergonomically economic - meaning that there is a fair way to jump
>>> compared to playing across strings - it does offer many other
>>> advantages,
>
> I disagree. It may be an interesting technical exercise to you, but other
> than being a diversion, it's got no practical advantages.
>
>>> including:
>>> 1. transposition of patterns becomes easier
>
>>> 2. fingerboard learning is helped
>
> Explain both of these, if you would, please.
>
>>> 3. use of open strings (as applicable)
>
> I really don't see how you'd learn the use of open strings any better this
> way. There's more than one string.
>
>>> Any others, does anybody else actually ever practice/play this way?
>
> There're all those washtub players, I guess.

[Brian Running]

> You can't be serious Brian, can you? I can't even comprehend that you don't
> see some good points here. Nothing being all encompassing I guess, but...
> come on.
> 1. Pattern playing?
> 2. Breaks away from typical boxed patterns, and turns them into linear
> scales, making a pattern player actually have to think differently?
> 3. Droning open notes as a reference?
>
> Upright and fretless playing.
>
> Wait, you were just looking for a debate right? Damn, I bit. *whew* I'm
> tired.

Sure, I was serious, Rob. I'm not looking for a heated argument, but I
am definitely looking for OP to defend his position. It's pretty easy
simply to say that practicing on one string "offers many other
advantages, including: 1. transposition of patterns becomes easier 2.
fingerboard learning is helped 3. use of open strings (as applicable)"
and then not offer any explanation at all. What does it mean? What are
the other advantages that aren't listed? How do you apply these
"advantages"?

Thank you for taking the invitation, Rob. I like it when you keep me
honest. We can get some meaningful content in here, yet!

[Eric D. Braden]

On May 17, 9:25 pm, Brian Running <brunn...@xxtdsxx.net> wrote:
> > You can't be serious Brian, can you? I can't even comprehend that you don't
> > see some good points here. Nothing being all encompassing I guess, but...
> > come on.
> > 1. Pattern playing?
> > 2. Breaks away from typical boxed patterns, and turns them into linear
> > scales, making a pattern player actually have to think differently?
> > 3. Droning open notes as a reference?
>
> > Upright and fretless playing.
>
> > Wait, you were just looking for a debate right? Damn, I bit. *whew* I'm
> > tired.
>
> Sure, I was serious, Rob. I'm not looking for a heated argument, but I
> am definitely looking for OP to defend his position. It's pretty easy
> simply to say that practicing on one string "offers many other
> advantages, including: 1. transposition of patterns becomes easier 2.
> fingerboard learning is helped 3. use of open strings (as applicable)"
> and then not offer any explanation at all. What does it mean? What are
> the other advantages that aren't listed? How do you apply these
> "advantages"?
>
> Thank you for taking the invitation, Rob. I like it when you keep me
> honest. We can get some meaningful content in here, yet!

I'm not sure how it applies for people who learned their scales "the
right way," but my whatever-you-call-a-hand's-mind's-eye is programmed
around one string, unfortunately. Instead of boxes, I see linear
progressions of 0-2-3-5-7-8-10-12 or 0-4-5-7-9-11-12 (the numbers
being frets, not Third, Fifth, etc). I guess you could say it
facilitates learning about intervals, since the intervals on a single
string are easier to "see" than those across three strings. Of
course, it does gimp you when you try to use the "box."

I feel that it's easier than "boxes," but then again, it does limit me
quite a bit when I want to expand beyond my typical riffs.

[Brian Running]

> I'm not sure how it applies for people who learned their scales "the
> right way," but my whatever-you-call-a-hand's-mind's-eye is programmed
> around one string, unfortunately. Instead of boxes, I see linear
> progressions of 0-2-3-5-7-8-10-12 or 0-4-5-7-9-11-12 (the numbers
> being frets, not Third, Fifth, etc). I guess you could say it
> facilitates learning about intervals, since the intervals on a single
> string are easier to "see" than those across three strings. Of
> course, it does gimp you when you try to use the "box."

I've been thinking about this whole concept, and how I may currently be
"going linear" in my playing. The main way that I do is when jumping a
third. I like to slide a lot, a greasy, sliding style is the closest
thing I have to a signature sound, I guess. So, whereas "in the box"
you'd skip a third by (for example) going second finger to first finger
on the next string up, I tend to slide up the same string to the third.
When I do that, I start with my index finger on the root, not my
second finger, and I slide with my ring finger. That way, when my ring
finger lands on the third, the fifth is right there under my index
finger, the sixth is under my ring finger, and the octave is under my
index finger. It's a kind of sliding box, and it's really useful in a
lot of rock and blues.

[ptooner]

>
> I've been thinking about this whole concept, and how I may currently be
> "going linear" in my playing. The main way that I do is when jumping a
> third. I like to slide a lot, a greasy, sliding style is the closest
> thing I have to a signature sound, I guess. So, whereas "in the box"
> you'd skip a third by (for example) going second finger to first finger on
> the next string up, I tend to slide up the same string to the third. When
> I do that, I start with my index finger on the root, not my second finger,
> and I slide with my ring finger. That way, when my ring finger lands on
> the third, the fifth is right there under my index finger, the sixth is
> under my ring finger, and the octave is under my index finger. It's a
> kind of sliding box, and it's really useful in a lot of rock and blues.

I don't quite follow this, can you elucidate? For instance, something I was
playing today goes from C to Em (E being the third for a C chord of course)
and I typically play the C on the A string with my ring finger and slide up
to E on the same string with the same finger. Hmm, perhaps I do see. You
are referring to the sixth (A) on the D string 7th fret? the fifth being
the D string fifth fret? and the octave the G string fifth fret? Or am I
mis-interpreting you all together?
Thanks
Gerry

[timbo]

On 2007-05-21, Brian Running <brunning@XXameritechXX.net> wrote:
>> I'm not sure how it applies for people who learned their scales "the
>> right way," but my whatever-you-call-a-hand's-mind's-eye is programmed
>> around one string, unfortunately. Instead of boxes, I see linear
>> progressions of 0-2-3-5-7-8-10-12 or 0-4-5-7-9-11-12 (the numbers
>> being frets, not Third, Fifth, etc). I guess you could say it
>> facilitates learning about intervals, since the intervals on a single
>> string are easier to "see" than those across three strings. Of
>> course, it does gimp you when you try to use the "box."
>
> I've been thinking about this whole concept, and how I may currently be
> "going linear" in my playing. The main way that I do is when jumping a
> third. I like to slide a lot, a greasy, sliding style is the closest
> thing I have to a signature sound, I guess. So, whereas "in the box"
> you'd skip a third by (for example) going second finger to first finger
> on the next string up, I tend to slide up the same string to the third.
> When I do that, I start with my index finger on the root, not my
> second finger, and I slide with my ring finger. That way, when my ring
> finger lands on the third, the fifth is right there under my index
> finger, the sixth is under my ring finger, and the octave is under my
> index finger. It's a kind of sliding box, and it's really useful in a
> lot of rock and blues.


also this linear way of playing is handy if you break a string, & suddenly
the nice comfy box patterns aren't there anymore..

some of us do occasionally break strings - in fact, it usually just after
this that i change a set of strings. hasnt happened for a few years now...

cheers,

timbo.

--

http://www.skyrockats.com

[Jim Carr]

"ptooner" <someguy@onthe.net> wrote in message
news:38q4i.3155$px2.2772@bignews4.bellsouth.net...

> I don't quite follow this, can you elucidate? For instance, something I
> was playing today goes from C to Em (E being the third for a C chord of
> course) and I typically play the C on the A string with my ring finger and
> slide up to E on the same string with the same finger. Hmm, perhaps I do
> see. You are referring to the sixth (A) on the D string 7th fret? the
> fifth being the D string fifth fret? and the octave the G string fifth
> fret? Or am I mis-interpreting you all together?

I don't mean to speak for Brian, but I will try since I have a question of
you also.

Suppose you want to play this riff we've all done at sometime or another:
C E G A Bb A G E (all eighth notes).

One way to do it is to put your middle finger on the root (C) on the A
string. The E and G are fretted on the next (D) string using your first and
pinky fingers. Your first and middle fingers hit the A and Bb on the G
string. This means you play the riff over three strings.

What I think Brian is describing is to start this in the same spot, but
start with your first finger on the root. You then slide up two frets and
use your ring finger to fret the third (E note). Now you are in position to
hit the fifth with your first finger on the D string. You can hit the A and
Bb with your ring and pinky on that same string. This means you play the
riff on two strings instead of three.

Depending on what you're playing and what comes next, either position might
be good. The one definite advantage of Brian's method is that by keeping it
on two strings you take advantage of the "fatness" of those strings. The
tone is definitely different.

What I wanted to ask is that I'm curious as to why you would fret the C on
the A string using your ring finger and the slide that up to the E? If I
needed a flat 7th as a pickup into the root C, I would use my ring finger.
But knowing that Em was on the horizon, I would use my middle finger to fret
the E on the D string. This leaves me in a good position for doing an Em
scale from the open E string using just my middle and ring fingers with the
open strings. With your hand position having the ring finger on the E (7th
fret of A string) makes it awkward to hit the second if I needed it. If I
slid up like that I would use the pinky so that I would be in a good
position to do the Em scale by only having to slid up two frets with my
pinky to hit the octave of the root.

Man, this would be so much easier with video clips!

[Brian Running]

> I don't quite follow this, can you elucidate? For instance, something I was
> playing today goes from C to Em (E being the third for a C chord of course)
> and I typically play the C on the A string with my ring finger and slide up
> to E on the same string with the same finger. Hmm, perhaps I do see. You
> are referring to the sixth (A) on the D string 7th fret? the fifth being
> the D string fifth fret? and the octave the G string fifth fret? Or am I
> mis-interpreting you all together?

No, you've got it, exactly. Ordinarily, to play in a C chord, you'd
anchor your second finger on your fretting hand on the C, say on the
third fret, A string. Then, the third would be index finger, D string.
Fifth, pinky, D string. Sixth, index finger, second fret of G string;
and octave is pinky, fifth fret, G string. But when I slide, I anchor
the index finger on C on the A string, then slide with ring finger up to
the E on the A string. Then the fifth is index finger, D string. Sixth
is ring finger, G string and octave is index finger, G string. It's an
easier way to add slides to your blues patterns.

Now I think you understand what I was referring to back in that thread
where you said you couldn't make heads or tails of what I was saying.
Remember that? A text-only medium is not an easy way to discuss music.

[ptooner]

>
> What I wanted to ask is that I'm curious as to why you would fret the C on
> the A string using your ring finger and the slide that up to the E? If I
> needed a flat 7th as a pickup into the root C, I would use my ring finger.
> But knowing that Em was on the horizon, I would use my middle finger to
> fret the E on the D string. This leaves me in a good position for doing an
> Em scale from the open E string using just my middle and ring fingers with
> the open strings. With your hand position having the ring finger on the E
> (7th fret of A string) makes it awkward to hit the second if I needed it.
> If I slid up like that I would use the pinky so that I would be in a good
> position to do the Em scale by only having to slid up two frets with my
> pinky to hit the octave of the root.
>
> Man, this would be so much easier with video clips!
>
Okay I have to interject a couple of disclaimers: 1. I had one bass lesson
many years ago, other than that I'm totally self taught. 2. I have limited
use of my little finger on my left hand. So, I generally read a lyrics and
chords chart. I frequently don't really know the song. If I am to play a C
chord I will generally put my ring finger on the A string third fret and my
middle finger on the E string third fret. That allows me a root/fifth below
pattern without further thought. In the case of the C it also makes the
whole scale fall readily under my fingers. Anyway, the ring finger on the
root and middle finger on the fifth below is what I supposed you would call
my default position for any chord. This becomes particularly useful if I'm
playing in a key that the root falls readily on the D string such as F, F#,
G - and so forth. In any of those situations I have the root/fifth pattern
for the I, IV and V all on the same fret. Of course I'm lazy. ;-) Don't
get me wrong, I rarely play just a root fifth pattern, it just is a
convenient place to work from and allows me to use my little finger as
little as possible. Another thing is my hands are quite quick from half a
century of playing other instruments and I don't find it much of an
imposition to have to jump from one end of the fretboard to the other. One
other disclaimer: I don't always know what I'm actually playing. I'm
trying to force myself to play by feel as much as possible. I always felt
that I used too much brain and not enough feel in all my years at the piano.
Last disclaimer (I promise) - I never recommend anyone else play like I do.

Gerry