Breaking Practice Up into Segments

[beaglegod]

This is yet another question I have in regards to practice.

Basically Im taking the hour to hour and a half of practice time I have each day and breaking it into 10-15 min segments. 15 min on modes 15 on 7th chord arppeggios etc. The problem Im running into is that I have to think everything through which is taking up time.

As an example lets say Im practicing Dorian over two octaves, if Im in any key other than C, I find myself having to think my way through the exercise note by note, otherwise Id just be going on muscle memory and the pattern of Dorian. This can take up most of the time Ive alloted for modes, and the same holds true for 7th chords. Is it proper practice than to just leave off wherever I am in the exercise and move on to the next area of practice? Or should I complete my exercises in the key Im working in even if it means leaving little time for other practice? The enormity of some of these subjects makes it difficult for a me to visualize mastering all of these elements without spending MANY hours a day practicing.

[onlyclave]

I would reduce the amount of things you are trying to get practiced within a given time allotment. It is better to practice one thing effectively than to try and do three things half-assed. Rome was not built in a day and you will not learn everything about the bass in a couple of years. Not even close.

If you want to maximize your practice time then make sure you are always practicing things you can't play. And if you are working on modes then I would suggest never practicing them in easy keys such as C, D, G, A, and E. How are your Ab phrygian modes these days?

[Jake of Bass]

Yeah what onlyclave said. Just take your time and thoroughly learn one thing at a time.

For your scales I've found Pacman's sure-fire scale practice method to be of great help, as it changes your perception so you see the scale as it is on the fretboard covering all notes, and less of a pattern you simply go up and down in a linear fashion.

Check it out here: Pacman's sure-fire scale practice method

[beaglegod]

I would reduce the amount of things you are trying to get practiced within a given time allotment. It is better to practice one thing effectively than to try and do three things half-assed. Rome was not built in a day and you will not learn everything about the bass in a couple of years. Not even close.

Hmmm, I see what your saying, however my concern is that i dont want to completely omit things that are equally important. For instance sacrificing arppegios, or sight reading, things that need to be practiced daily if they are going to be absorbed and internalized. Im trying to find a balance somehow, but I do see what your saying. I guess I just have to figure out what is most-least important. Or better yet which studies cover the most ground.

[Zombbg4]

You don't have to ditch one excersize completely to have time for others. Do 30min of modes one day and 30min of 7th arppegios next ect... If you're not having to think when you practice you're not learning.

To gain some practice time and make it more productive, on your way to work or something say the note names to a scale or chord. It's amazing how many people can't say the notes of the scales they know.

[DudeistMonk]

What I found works really well for me (especially for stuff like modes and chords) is to do anything I can do in front of the TV, in front of the TV.

In a typical week I have 2 or 3 chords/patterns to work out, and some sort of fingering workout. (In addition to songs, written music and other stuff I can't do in front of the tube.)

Every day I get home pull out the bass and run 1 of the exercises while I watch showtime or southpark or w/e and then I retreat to my room and do the stuff that I need an amp for.

It's like getting an extra hour of practice every day without it feeling like it.

[Jim Carr]

Originally Posted by beaglegod

...my concern is that I dont want to completely omit things that are equally important. For instance sacrificing arppegios, or sight reading, things that need to be practiced daily if they are going to be absorbed and internalized. I'm trying to find a balance somehow...

Do not reduce time spent on reading. The illusion that somehow knowing the nth mode of scale X will make you a good musician is a bit worrisome to me. Modes and scales matter, yes, but other things matter more, IMHO

My list:
Listening and knowing a real repertoire, outside of your chosen universe.
Understanding what you hear.
Solid time.
Solid technique with left and right hands.
Playing what you sing.
Sight reading very very well.
Spelling any chord in any key.
Modes, scales and their application.

[Slackerprince]

Smash your clock.
Time is the enemy.
Play what you want and enjoy it.


S.

[trust24]

I still cant work out why we need scales really, i mean it has helped me know the basic scales to then go on and learn the basic chords etc

[Jake of Bass]

Scales give you a harmonic framework to work with.

[trust24]

I know but what about bassist who cant play scales how do they make up lines. I just dont get it surely if it sounds good thats all the matters

When you make up bass lines do they all follow the same pattern of a certain scale then?

[Jake of Bass]

Originally Posted by trust24

I know but what about bassist who cant play scales how do they make up lines. I just dont get it surely if it sounds good thats all the matters

Of course, but quite often keeping to the chords and/or diatonic context (ie. the scale) is what sounds good. Gotta know the rules before you can bend/break them.

When you make up bass lines do they all follow the same pattern of a certain scale then?

Of course not, that's why there are different scales. But mostly I follow my ear.

[trust24]

Originally Posted by Jake of Bass

Of course, but quite often keeping to the chords and/or diatonic context (ie. the scale) is what sounds good. Gotta know the rules before you can bend/break them.



Of course not, that's why there are different scales. But mostly I follow my ear.

Ok, Does a bass line have to be any amount of notes long, its just that ive made a few that i think sound good and i can imagine theyd be good with drums and guitar but because ive never actually played with anyone else i dont know if im doing it wrong or not you see

For example say youve got a major chord and you make a line from that could you like play the root note 3 times the 3rd note 5 times and the 5th note twice or do they all have to be equal

[Jake of Bass]

No, no and no

You can write whatever you want. For anything that's written, there are drum grooves that will sound great and drum grooves that will sound terrible, and vice versa.

Rather than looking at it on paper and wondering if the bass line you wrote works, you need to find some accompaniment that works with it, as it's more about the ear. If you think it sounds good, then who's to tell you otherwise? It's your line, play what you like. However, when you're playing in a band, it is important (sometimes) for everyone to like what you're doing, and the same with their stuff.

For example, if the guitarist came up with an idea for a ballad and you started playing some crazy slap bassline with a synth effect whilst the drummer started doing something with double kicks, he'd probably get pissed off. But this is heading towards the realm of band management and group dynamics.

Back to your question, you'd be best at this stage learning BY EAR some bass lines you like, and then analyzing them to see how they're constructed. This will be made easier if you know what chords are being played as most music we listen to relates to the chords in some way, often very closely. Doing this will help immensely, and is something you should never stop doing for as long as you play music.

[trust24]

Originally Posted by Jake of Bass

No, no and no

You can write whatever you want. For anything that's written, there are drum grooves that will sound great and drum grooves that will sound terrible, and vice versa.

Rather than looking at it on paper and wondering if the bass line you wrote works, you need to find some accompaniment that works with it, as it's more about the ear. If you think it sounds good, then who's to tell you otherwise? It's your line, play what you like. However, when you're playing in a band, it is important (sometimes) for everyone to like what you're doing, and the same with their stuff.

For example, if the guitarist came up with an idea for a ballad and you started playing some crazy slap bassline with a synth effect whilst the drummer started doing something with double kicks, he'd probably get pissed off. But this is heading towards the realm of band management and group dynamics.

Back to your question, you'd be best at this stage learning BY EAR some bass lines you like, and then analyzing them to see how they're constructed. This will be made easier if you know what chords are being played as most music we listen to relates to the chords in some way, often very closely. Doing this will help immensely, and is something you should never stop doing for as long as you play music.

Thanks for the advice, i suppose with making bass lines it all depends on who wrote the song, imean if you wrote a bass line the guitarist would add his thing to it but if he wrote the song it may only require some really simple bass like just strumming to or 3 notes and not really a bass line

[Jake of Bass]

It just depends what's appropriate for the song.

Sometimes writing some complex piece can work very well, at other times simply playing the same note in a steady fashion whilst the chords change sounds great.

A general guideline to follow (for me at least) is that if the vocals and drumming are busy, I'll play something simple, giving space for the busy parts. If it's moving along at a decent pace but there's a lot of space, I'll play something busy. But it all depends on your ear and what you're hearing - these aren't hard and fast rules, just general tendencies.