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Scale Discovery for Bass

Scale Discovery for Bass

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Published by: palaeomymar on Jul 31, 2014
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10/31/2015

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Bass

soloing
Scale
discovery
°
¢
°
¢
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¢
Copyright © 2013 Scott's Bass Lessons
4
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Solo at the start of the lesson
3
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3 3
3
Bass Soling Scale Discovery (L#77)
Scott Devine
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Copyright © 2013 Scott's Bass Lessons
Ex.1
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05:38
Here are the fingerings and tab for each way of playing c major scale.
Starting on finger 1, 2 & 4.
C Major Scale: 1st, 2nd and 4th finger positions.
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Fingerings:
Fingerings: 2 4 1 2 4 1 3 4 4 3 1 4 2 1 4 2
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1 2 4 1 2 4 1 2 2 1 4 2 1 4 2 1
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Fingerings:
4 1 3 4 1 4 1 2 2 1 4 1 4 3 1 4
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3 5
2 3 5
2 4 5 5 4 2
5 3 2
5 3
8 10 12
8 10 12
9 10 10 9
12 10 8
12 10 8
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5 7 8
5 7
4 5 5 4
7 5
8 7 5
8
2
Copyright © 2013 Scott’s Bass Lessons

Bass Soloing – Scale Discovery
(L#77)
Your Acti on Plan
1. Your first step is to learn the C major scale using
each of the three positions I present within the
video tutorial. When you're playing through each of
these different positions make sure to look at the
fingerboard. You should be trying to actually 'see'
the shape/pattern on the fingerboard so looking at
the fingerboard while playing through these
patterns is a must.
2. Don't rush it. I recommend you spend a few days on
one position before moving onto the next position.
This is to ensure you really learn each position and
get each of them fully ingrained within your playing.
3. Now move onto linking the different positions
together. Try running up one, and down the other.
When doing this try and 'see' the shapes under your
hands. Pushing this idea even further, while playing
one pattern you can try and visualize the
neighboring pattern on the fingerboard. This is a
fantastic way to build and strengthen your
visualization of harmony upon the fingerboard.
Copyright © 2013 Scott’s Bass Lessons
4. Now it's time to improvise using each of the
positions you have learned. Again, take it slow and
use one position at a time before you try and use
combinations of all the positions. Make sure you're
still working on your visualization at the same time
as improvising. You should always be trying to 'see'
the harmony upon the fingerboard.
5. Once you have mastered the above you should try
the same process in different keys and also with
different scales. I personally recommend using
these techniques on one scale/tonality at a time,
and usually it's best to stick with that one
scale/tonality for at least a couple of weeks before
moving on.
Scott Devine

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