Pacman's sure-fire scale practice method - Page 3

BassPanther · #41 07-12-2002, 11:33 PM

I've got a question about your original method Pacman.

Correct me if I'm wrong, but from what I see in your post. Your saying play the notes of the scales without focusing on the intervals inbetween?

Would you suggest this method for a semi-begginner such as myself? The way I practice now is I focus on the intervals. So if I'm playing the major scale, so I'll start with the root note and then continue up, playing three notes a string. To be fully honest, I sort of "cheated" because I plotted the points out on a fret board map (just fret board NOT TAB) and then I follow that.

**Pacman** · #42 07-13-2002, 07:06 AM

I would recommend learn the scale patterns first. Later, when you're doing scales by broken intervals (we all do this, right?) you can concentrate more on that. Of course, you'll have to be at least familiar with the intervals to construct a given scale. Great question

BassPanther · #43 07-13-2002, 04:44 PM

What about scale sequencing/intervalic exercises? Should I start at the root and play the pattern or would you suggest your method?

Thanks for replying.

**Pacman** · #44 07-13-2002, 04:52 PM

For sequences, I tend to use the boxes. That is, I do a "box" of broken thirds, 4ths, etc. A box of note sequences (123, 234,345,567, e.g.). Then the connecting excercises. If you do this, you're well on your way.

BassPanther · #45 07-13-2002, 04:57 PM

Boxes? Connecting exercises? Do you think you could explain those to me? I'm not familier with those terms.

**Pacman** · #46 07-13-2002, 11:49 PM

read the rest of the thread.

danqi · #47 07-27-2002, 07:54 AM

Hey Pacman, you lost me on your last couple of posts. You said something about what to learn first but you used terms I am not familiar with.
I know what scales and modes are (I think

) but I have never bothered practicing them, because I just did not know a good method.

Is your method the right one for me to get into practicing scales?

You said your method would be right to practice modes. But when you play a scale not starting at the root but at the lowest note of the box, where is the difference between all the modes? Since they contain all the same notes you would play the exact same thing.

**Pacman** · #48 07-27-2002, 01:28 PM

Quote:

Originally posted by orthanc
Is your method the right one for me to get into practicing scales?

I think so.

You said your method would be right to practice modes. But when you play a scale not starting at the root but at the lowest note of the box, where is the difference between all the modes? Since they contain all the same notes you would play the exact same thing.

Well, the difference is in how you think about what notes you are playing. My method will get the sound of each scale in your head. There is a difference between the third of the major scale and the third of the lydian scale. Notice that my (not really mine, just the one I agree with) method says that you should say or sing the note function (number) when you play it, it helps the brain get the sound in your head.

The thing that confuses people is that the modes are NOT simply a major scale played x note to x note. They are complete and separate scales based on the parent scale. That is, by spelling a C major scale from D to D you learn how to construct a D dorian, but that dorian is it's own scale with it's own sound, and it's own function. And by learning what the 2nd of the dorian mode sounds like, and what it sounds like against certain tonalities, then you truly learn the scale.

Matt Till · #49 07-28-2002, 07:48 PM

Hey, I should have thought of this. Great thread Pacman, it's threads like this that keep me coming back to Talkbass. Sure people like me fill it with crap, but when you sort through the threads, there's more educational material than you can shake a 45-stringed bass at. Thanks.

But you still look like satan.

SpankBass · #50 07-29-2002, 12:34 AM

Quote:

Originally posted by StupidMatt

But you still look like satan.

I was thinking Kevin Spacey from that movie Seven myself....

moley · #51 01-03-2003, 05:06 AM

I've only just found this thread. It's real useful. Shouldn't it be sticky or something?

**Chris Fitzgerald** · #52 01-03-2003, 05:37 AM

Quote:

Originally posted by moley
I've only just found this thread. It's real useful. Shouldn't it be sticky or something?

It's linked here:

Music Theory/General Instruction Links and Book List

deadweeds · #53 02-07-2003, 11:49 AM

Roark Haver · #54 02-10-2003, 06:41 AM

Threads like this are one of the reasons why TB is one the best $20 instructional values around!

Thanks Jon!

wushuguy · #55 02-19-2003, 02:25 AM

I just wanted to say thanks, Pacman. I started playing bass almost two months ago. By using this method, it only took me two weeks learn all of the notes on the fretboard and be able to call them out without hesitation. I really can't imagine an easier way to learn the fretboard. Thanks.

**Pacman** · #56 02-23-2003, 05:48 PM

All part of the service

moley · #57 03-04-2003, 12:53 PM

About the three-notes-per-string idea (i.e. playing three notes on one string before moving to the next) - does anyone else have trouble playing F G A (for example) on the E string - *smoothly*?

My hands aren't small, but I have trouble with this! It's quite uncomfortable, and I can't seem to do it without bending my wrist at a nasty angle.

Matters are made worse by the fact that I'm playing a fretless - I can't "cheat", my fingers have gotta be in the right place.

As I say, my hands are not particularly small (I can play 10ths on the piano pretty comfortably) - but I find this one a little nasty. Anyone else find this?

**Chris Fitzgerald** · #58 03-04-2003, 01:25 PM

Quote:

Originally posted by moley
About the three-notes-per-string idea (i.e. playing three notes on one string before moving to the next) - does anyone else have trouble playing F G A (for example) on the E string - *smoothly*?

My hands aren't small, but I have trouble with this! It's quite uncomfortable, and I can't seem to do it without bending my wrist at a nasty angle.

I find that large intervals like this are better played with the wrist than with the fingers. For instance, on BG I notice that on any note i am supposed to play with my pinky, the finger barely moves at all, and it is the wrist action (i.e. - hand extending and pivoting around the thumb on the back of the neck) that actually makes the stretch. The way I usually describe this to students is that if the thumb is more or less straight up on the back of the neck while playing with the 1st and 2nd fingers, it pivots as if there were a pin through it to the point where it's pointing at the headstock when playing with the 3rd and (especially) 4th fingers.

I always try to remember that the 3rd and 4th fingers get much shorter the higher the LH thumb is on the back of the neck, and longer the lower it is. If the LH wrist is getting bent too far to accomodate low playing, I take it as a sign that it's time to re-examine the angle of the neck itself....if you can't find a way to straighten the wrist out by altering the LH technique itself, try raising the neck. This also lowers the body and is often a good way to help alleviate tension on both Left and Right wrists.

moley · #59 03-04-2003, 01:54 PM

Thanks Chris

Garrett Mireles · #60 03-04-2003, 03:22 PM

Pacman...I owe you a debt of gratitude.

Thank you so much