question about the G major scale

[moondog1976]

some guy showed me a 2 octave major scale and told me it's important to study it/
i can't really recall the scale but i made a diagram and I'm hoping that I'm playing it the right way.
i know that there are more then one version of the scale, but is my version is also correct?
(sorry for the lame graphics, not exactly my cup of tea)

[Dogbertday]

you're missing the graphics...

[tomvelsor]

the graphics that you diddnt post look great.

[BassChuck]

It looks OK. I'd forget about the "b and c" on the high string.... and the 'f's' should be F#, but other than that it looks like it should.

This is a good scale to practice and really, a G scale has nothing to do with impotance.

[Marcury]

Originally Posted by BassChuck

This is a good scale to practice and really, a G scale has nothing to do with impotance.

Beat me to it.

[winstonthecat]

As said before, the F's you listed are actually F#'s.

I would include the B and C on the G string, as well as G and A. Play it both ways to get a stronger knowledge of the fretboard.

Then play the same pattern starting at a different root.

Or better yet, follow Pacman's training method:

Pacman's sure-fire scale practice method

This is very helpful for learning scales, modes, and where all of the notes are located on the fretboard.

[moondog1976]

Okay. got it.
thanks for the replies.

[WhiteKnuckles]

That's not a pattern I'd use to run this scale. The notes are right, but there seems to be a bunch of places where you'd need to reposition.

Here's the pattern I'd use for two octaves, starting with my index finger on the root.

E -3-5-7
A -3-5-7
D -4-5-7
G -4-5-7-9-11-12

This way the only time I move my fretting hand is to catch the E, F#, and G on the G string. Granted, there is noting wrong with learning where the notes are, or playing in different positions as it may flow into the next chord change better, but this is just how I'd run the scale.

[winstonthecat]

Originally Posted by WhiteKnuckles

That's not a pattern I'd use to run this scale. The notes are right, but there seems to be a bunch of places where you'd need to reposition.

Here's the pattern I'd use for two octaves, starting with my index finger on the root.

E -3-5-7
A -3-5-7
D -4-5-7
G -4-5-7-9-11-12

This way the only time I move my fretting hand is to catch the E, F#, and G on the G string. Granted, there is noting wrong with learning where the notes are, or playing in different positions as it may flow into the next chord change better, but this is just how I'd run the scale.

Don't you have to move your hand to hit the notes on the 7th fret? I can do OFPF, but that leaves me on the 6th fret without a postion shift.

[HaVIC5]

Originally Posted by WhiteKnuckles

That's not a pattern I'd use to run this scale. The notes are right, but there seems to be a bunch of places where you'd need to reposition.

Here's the pattern I'd use for two octaves, starting with my index finger on the root.

E -3-5-7
A -3-5-7
D -4-5-7
G -4-5-7-9-11-12

This way the only time I move my fretting hand is to catch the E, F#, and G on the G string. Granted, there is noting wrong with learning where the notes are, or playing in different positions as it may flow into the next chord change better, but this is just how I'd run the scale.

Why is shifting positions bad? People seem to get so caught up in playing in a single position that they go to ridiculous lengths and stretch their fingers to points beyond OFPF. Why? Upright bassists are able to play with pretty incredible speed on a single string - the traditional (see: Simandl) way to play a two-octave G major scale for upright bass is to play in first position up to the open G, and then play the entire second octave solely on the G string. There are many reasons for this, but the point I'm making is that shifting shouldn't be avoided - if you do that you're doing a complete disservice to your left hand technique, and its really stunting your ability to move around the neck.

[cheesemonkey]

Originally Posted by HaVIC5

Why is shifting positions bad? People seem to get so caught up in playing in a single position that they go to ridiculous lengths and stretch their fingers to points beyond OFPF. Why? Upright bassists are able to play with pretty incredible speed on a single string - the traditional (see: Simandl) way to play a two-octave G major scale for upright bass is to play in first position up to the open G, and then play the entire second octave solely on the G string. There are many reasons for this, but the point I'm making is that shifting shouldn't be avoided - if you do that you're doing a complete disservice to your left hand technique, and its really stunting your ability to move around the neck.

well it's pointless to switch positions like that when you can keep your hand in one position... and the way you have it rather than shifting your hand you will probably end up stretching it which is bad. The more you can play without switching your position the better.

[mambo4]

As mentioned, if you change the labeled "F" to "F#" its correct.

you were probably told it was important because it's a major scale more than because its G. The major scale is the foundation of western harmonic theory.

[John Wentzien]

Originally Posted by WhiteKnuckles

That's not a pattern I'd use to run this scale. The notes are right, but there seems to be a bunch of places where you'd need to reposition.

Here's the pattern I'd use for two octaves, starting with my index finger on the root.

E -3-5-7
A -3-5-7
D -4-5-7
G -4-5-7-9-11-12

This way the only time I move my fretting hand is to catch the E, F#, and G on the G string. Granted, there is noting wrong with learning where the notes are, or playing in different positions as it may flow into the next chord change better, but this is just how I'd run the scale.

This is a good pattern to learn..
It will help you when you get into 2 octave major arpeggios and walking bass lines.

[JTE]

Sorry, but WhiteKnuckles' pattern keeps you in one postition too long in my opinion. And those stretches from 3 to 7 can cause some severe hand problems. I'd work out shifts that don't require the stretching and flow smoothly up and BACK DOWN the neck.
For example... (3/G means third fret for the G note)

E String 3/G, 5/A
A String 2/B, 3/C, 5/D, shift to 7/E
D String 4/F#, 5/G, 7/A, shift to 9/B, 10/C, 12/D
G String 9/E, 11/F#, 12/G.

But just learning the G scale is not that usefull. Learn the physical pattern on the neck. Be able to play it in at least five postions across the neck (without regard to starting on G!) For example, you can play G and A on the fourth string, then B, C, and D on the third string, then E, F#, and G on the second string, the A, B, C on the first string without leaving second position (where your index finger is at the 2nd fret). That's one postion. Then move up and you can play A, B, C on the fourth string, D and E on the third string, F#, G, and A on the second string, then B, C, and D on the first string, moslty in fourth postion. Move up a few more frets and find how to play the scale starting with B, C, and D, then up a string for E, F#, G, then A, B, C, etc.

SING EVERY NOTE YOU PLAY, otherwise all you're doing is teaching your fingers to wiggle. That's not music.

Then learn the scale all on one string.

And yes I know that not starting on the root is technicaly modal but I'm talking about preparing to play music here, and musical thoughts don't need to start and end on the root, so knowing where that major scale is at any fret is vital to understanding the figerboard....

jte

[WhiteKnuckles]

I never said shifting positions is "bad" by nature...that's why I left the post with...

"Granted, there is noting wrong with learning where the notes are, or playing in different positions as it may flow into the next chord change better, but this is just how I'd run the scale."

Simply for running a two octave scale from major, which is what the OP was looking at...the way I noted would be the most economical way.

As far as those asking if there would be a position shift in the pattern I noted, not really...if I can grab the outside note with either the index or pinky, I don't really consider it a shift.

[HaVIC5]

Originally Posted by cheesemonkey

well it's pointless to switch positions like that when you can keep your hand in one position... and the way you have it rather than shifting your hand you will probably end up stretching it which is bad. The more you can play without switching your position the better.

Tell that to an upright bass player. They'll laugh.

Really, I'm going to have to disagree to the fullest in that statement. You haven't really given a reason why shifting is bad, just that "it's bad". How would you play a three octave scale? Shift registers? Make any sort of leap? Play an arpeggio in two octaves? Three octave? Can you play a three octave E major scale fluidly? I'd love to see you try using your method of stretching.

There's a reason why classical technique for not only the upright bass, but the entire violin family, the viol family and the classical guitar stresses shifting and position adjustment. Playing in a short position not only keeps your muscles relaxed and mobile ("position" in the classical sense means where the hand rests normally without stretching in anyway), but allows you to play very accurately and adeptly. You'll never see a cellist or classical guitarist or a violinist or (especially) upright bassist practice "finger stretching excercises"; that sort of thing is utterly useless and potentially dangerous to your hand. By playing out of position and stretching solely so your thumb is immobile, you're hampering total control over the neck - you're just trying to stay within a position just because you don't have proper technique built.

[E2daGGurl]

Originally Posted by cheesemonkey

well it's pointless to switch positions like that when you can keep your hand in one position... and the way you have it rather than shifting your hand you will probably end up stretching it which is bad. The more you can play without switching your position the better.

Except that of course it sounds different in different positions. If speed and pitch are the only concern, then play in one position.

But it doesn't sound the same.

[Andrew.Glose]

Another way of looking at it:

G:-9-11-12
D:-9-10-12
A:-3-5-7-(shift)-9-10-12
E:-3-5-7

Andrew

[JimmyM]

Originally Posted by JTE

Sorry, but WhiteKnuckles' pattern keeps you in one postition too long in my opinion. And those stretches from 3 to 7 can cause some severe hand problems.

Not true at all on both counts. When Dave LaRue and I went over 2-octave scales at lessons, Whiteknuckles' pattern was the exact pattern Dave taught me for a 2-octave G scale. Also, it's very easy for your index and middle finger to do a 2-fret split. I've got the tiniest hands of any male I ever met and I can do it with ease.

And while shifting is absolutely NOT bad and is required by every bass player in the world at some point, the point of running the 2-octave scale is to develop a sense of efficiency around the neck. Look at the pattern from a finger point of view:

1-2-4
1-2-4
1-2-4
1-2-4-1-3-4

Using the same fingers as much as possible, making only one shift at the end, and having it end symmetrically instead of making that real awkward shift to the E on the A string that you propose. Yours would require you to go 1-2-4-4 or 1-2-3-4, neither of which are very efficient.

You also use the same basic pattern as the first when you do 3-string 2-octave scales:

1-2-4
1-2-4
1-2-4-1-2-4-1-3-4

Except you do two shifts on the last string.

On another note, upright players do a lot of shifts because it sounds better and is a million times easier to play open or as close to open notes as you can. Electric bassists don't have those limitations so you can be more efficient. Still, it's important to be able to shift cleanly, so doing the 2 octave scales this way makes it a lot easier to shift during performances while honing your sense of efficiency around the neck.