How do you decide what position to play in?

[Skel]

I've often wondered about this; Say you are playing a 12 bar blues pattern in the key of "A". You are playing on the fifth fret (assume a 4 string). When you transition to the "4" of the "1-4-5", in this case "D", do you move up to the 10th fret, or do you just vertically jump strings and stay on the 5th fret? I think most people just jump strings. I do, because it's easier and the tone gets too thick and muddy for me up on the 10th fret, but I'd be really intersted to know about the ones who move up, and the reason(s) they do.

Thanks,

Skel

[Matthew Bryson]

When I want to move from the I to the IV for a 12 bar blues, I always go up by crossing strings. I'd rather play in position, I sound cleaner and can play longer without fatigue. I think it falls under the umbrella of the "economy of motion" school of thought.

[Skel]

Yea, all my life I've struggled with why you can do the same thing in 2 different places on a guitar or bass. I don't know if there is an instrument other than stringed that you have this option on.

Skel

[Jeff Moote]

Originally Posted by Skel

Yea, all my life I've struggled with why you can do the same thing in 2 different places on a guitar or bass. I don't know if there is an instrument other than stringed that you have this option on.

Skel

Sure, but people have been playing stringed instruments for a long time. Plus it's not much different than alternate fingerings on wind instruments... a different way to get the same sound.

The advantage you have with strings is that the two positions do not sound the same (tone changes string to string, and also as you move up the neck). You can choose whichever suits the situation.

Personally, my choice of position is influenced primarily by where I was playing before, and where I will play after, in order to avoid uncomfortable shifts. Secondly, I will consider the tone produced. Many times however, upon playing the same line more than once, I decide on a fingering that maximizes tonal choice and economy together.

It's all about choice. Sometimes you just have to think it out and determine the best way to play something.

[Skel]

The strange thing for me is; I could probably do just fine with a 9 fretted, 3 string bass. I'm not sure I would miss the rest that much.

Skel

[Cristo]

Although I don't play much 12 bar blues, this same question holds pretty much true for anything since there are always multiple positions.

My choice depends on

• whether or not I want that thick, fundamental-heavy tone you get when higher on the neck.
• Also, whether or not I want to use any slides to/from that higher position as articulation.
• And finally (assuming it is something other than a 12 bar) what sections come next in the music- if the next part is higher on the neck, I'm already there and ready to go instead having to make the jump at a point that might be difficult.

[Skel]

Originally Posted by Cristo

Although I don't play much 12 bar blues, this same question holds pretty much true for anything since there are always multiple positions.

My choice depends on

• whether or not I want that thick, fundamental-heavy tone you get when higher on the neck.
• Also, whether or not I want to use any slides to/from that higher position as articulation.
• And finally (assuming it is something other than a 12 bar) what sections come next in the music- if the next part is higher on the neck, I'm already there and ready to go instead having to make the jump at a point that might be difficult.

Yea, a lot of what you're saying reminds me of an Eric Clapton interview I read many years ago in "Guitar Player". He said playing is kind of like playing billiards - you are constantly setting yourself up for the next shot.

I'm sure many of you are the same as me, in that you end up being able to play the same thing in either position, and you can make that decision on the fly, sometimes without even conciously thinking about it - so no matter where you end up, you can "land on your feet", and it becomes second nature.

I actually like the thrill of seeing if I can get home from something a little unfamiliar.

Skel

[Bushfire]

Originally Posted by Skel

The strange thing for me is; I could probably do just fine with a 9 fretted, 3 string bass. I'm not sure I would miss the rest that much.

Skel

Yeah, same here.

[JohnBarr]

Originally Posted by Skel

Yea, a lot of what you're saying reminds me of an Eric Clapton interview I read many years ago in "Guitar Player". He said playing is kind of like playing billiards - you are constantly setting yourself up for the next shot.

I'm sure many of you are the same as me, in that you end up being able to play the same thing in either position, and you can make that decision on the fly, sometimes without even conciously thinking about it - so no matter where you end up, you can "land on your feet", and it becomes second nature.

I actually like the thrill of seeing if I can get home from something a little unfamiliar.

Skel

Nicely put.
I'm just a living room warrior, but when I practice a new piece I always try it in two positions, above and below the 5th -- at least if the piece permits it.
As Cristo mentioned, I'm a sucker for that thick tone you get as you move up to the octive (especially on fretless), so I always try stuff up there. But, as you suggest, sometimes you can't land on your feet for the next line as easily -- which always makes me wonder if a 5er wouldn't make that a bit easier...
It may be me, but it seems that jazz, especially the stuff that comes down from the days of the double bass, lends itself better to playing between the 5th and 12th.

John

[CrazyArcher]

In most cases I try to play it as high as possible, because
a) it's plainly easier and
b) I have a really lo-quality instrument and open strings don't sound too well for me.
Somewhere around 5th-7th position is the best choice for me.

[SundanceChile]

I play 12 bar blues for my warm up, most the time I just play across, but if I feel like wanking, i move up to the higher register.

[jasper383]

Originally Posted by Skel

The strange thing for me is; I could probably do just fine with a 9 fretted, 3 string bass. I'm not sure I would miss the rest that much.

Skel

In Bass Player magazine a couple months ago, there was a profile of a Nashville session pro/producer (can't think of his name) who has a custom 3 string Precision. He also never uses active basses.

Washtub players can be very convincing with one string.

[Skel]

Well, this is getting off topic, but one thing I love to do that I think I learned from McCartney an JPJ, is to stay up in the second octave, especially on cool intro's - you tease around up there, and then when you finally hit that "A" or "G" on the E string, the contrast makes it sound so explosive. I love giving out the lower notes sparingly as a little gift to the listener. A perfect example is JPJ's line in "What is and what should never be". When he finally hits the low open "E", the entire walkup before the chorus sounds deep and strong.

Skel

[morf]

I use whatever sounds better. I'm not afraid to go down (or is it up?) the neck to hit a note instead of transferring to the bottom string if I feel it sounds better (well, more like if I feel I play it better this way). Just do whatever rocks your boat, but remember that transferring to another string is very good practice and will help you tons when composing.

[mothmonsterman]

see now this is the crap i never thought to learn, i just play.

[Eric Grossman]

[quote=jasper383]In Bass Player magazine a couple months ago, there was a profile of a Nashville session pro/producer (can't think of his name) who has a custom 3 string Precision. He also never uses active basses.

I'm pretty sure you're referring to Michael Rhodes. He is a monster player, and he does sometimes play active basses. He's a big time Sadowsky guy.

As per the original question, there are other factors to consider, beside what has already been stated. If you cross strings, you have access to the lower chord extensions from the same position. If you move up to the IV on the same string, you have access to the higher chord tones without changing positions.

Also, you may like the way it sounds to slide up to that IV chord, too.

[ryco]

Depends on where I'm going or, sometimes, where I've been.

Also if I want to use open strings or if I want everything sounding about the same. Easier to mute notes and other strings when playing above the fifth fret as well.

peaceout -Ryco

[spudmaster34]

Originally Posted by Skel

I don't know if there is an instrument other than stringed that you have this option on.

Skel

i also play saxaphone to play a B flat there are 5 different fingerings. so yes, there are other instruments with that option

[EricF]

For 12-bar blues in A...
On the guitar, I tend to make the jump up to the 10th fret on the E-string, but frequently I'm repeating a lick or pattern that works easier to just move up position. On the bass, I'll tend to work around one position a more often. It all comes down to what works best for each piece.

[Schwaa]

[quote=Eric Grossman]

Originally Posted by jasper383

As per the original question, there are other factors to consider, beside what has already been stated. If you cross strings, you have access to the lower chord extensions from the same position. If you move up to the IV on the same string, you have access to the higher chord tones without changing positions.

Also, you may like the way it sounds to slide up to that IV chord, too.

I like that comment, been working on some of this myself.

I start with playing the g major chord, root and 2nd on E, 3-4-5 on A string, 6-7-root on D.
Then I'll play again with root-2-3 on E, 4th on A, 5-6-7-root on D.
I'll play the G maj for awhile but every time I'll mix the position to use different fret/string positions.

It's a good way to learn all the possibilities and to make it sound like you're playing more than G. This way you could play an entire song in G maj but it wouldn't all sound the same. You can start in a low position and work up high on the E, or go across strings. So you get the ups and downs in pitch,