Alternative (probably for some) scale practice method and issues

[Jubey Monster]

Hey Guys,

Straight to the point, I've been studying Mark Levine's Jazz Theory Book recently (great book, highly recommended) and have been testing out his suggested method of practicing scales.

The idea is that instead of running the scale root to root and back down, you play root to root, but begin to descend on the 9th, landing on the 2nd, before beginning to ascend of the 3rd up to the 11th and so forth (i.e in Bb Major, Bb, C, D, Eb, F, G A, Bb, C - back down - Bb, A, G, F, Eb, D, C - back up - D, Eb, F, G, A, Bb, C, D, Eb - back down - D, C, Bb, A, G, F, Eb - back up - F, G, A e.t.c e.t.c).

The goal here is to eliminate root bias (it's also a sneaky way of running your modes) when it comes time to do things like play over changes. In my own practice I have extended this to reach from the lowest note of a scale available (i.e the low F in the case of Bb Major) to the highest (the high G).

Where I am coming unstuck with this method, is in finding a consistent and economical fingering pattern to traverse the neck. Thoughts?

 

[WannaJazz]

Carol Kaye suggests fingers 1-2 4, up to the seventh fret.

Then 1-2-3-4 above the seventh fret.

 

[Gasman]

Carol Kaye suggests fingers 1-2 4, up to the seventh fret.

Then 1-2-3-4 above the seventh fret.

This. I started playing like this many years ago, and haven't looked back. My pinky is now as strong as my ring finger.

 

[_chrispy]

Carol Kaye suggests fingers 1-2 4, up to the seventh fret.

Then 1-2-3-4 above the seventh fret.

That's cool and i don't necessarily disagree, i don't understand how it relates to the OP.

 

[251]

Hey Guys,

Straight to the point, I've been studying Mark Levine's Jazz Theory Book recently (great book, highly recommended) and have been testing out his suggested method of practicing scales.

The idea is that instead of running the scale root to root and back down, you play root to root, but begin to descend on the 9th, landing on the 2nd, before beginning to ascend of the 3rd up to the 11th and so forth (i.e in Bb Major, Bb, C, D, Eb, F, G A, Bb, C - back down - Bb, A, G, F, Eb, D, C - back up - D, Eb, F, G, A, Bb, C, D, Eb - back down - D, C, Bb, A, G, F, Eb - back up - F, G, A e.t.c e.t.c).

The goal here is to eliminate root bias (it's also a sneaky way of running your modes) when it comes time to do things like play over changes. In my own practice I have extended this to reach from the lowest note of a scale available (i.e the low F in the case of Bb Major) to the highest (the high G).

Where I am coming unstuck with this method, is in finding a consistent and economical fingering pattern to traverse the neck. Thoughts?

I often refer to Mark Levine's book & it is clear to me his 1st instrument is Piano. Adapting his scale practice to Bass may not offer an efficient fingering. I suggest you think in terms of 2 octave scales, to make it useful. Slow & steady is the way,

 

[Jubey Monster]

I often refer to Mark Levine's book & it is clear to me his 1st instrument is Piano. Adapting his scale practice to Bass may not offer an efficient fingering. I suggest you think in terms of 2 octave scales, to make it useful. Slow & steady is the way,

I agree completely. The two octave scale method was how I was initially taught to practice scales, but what I'm looking at doing with this particular exercise is trying to find a way to eliminate the root bias that seems to creep in, hence my attempt to adapt Levine's method.

 

[Clef_de_fa]

That kind of practice is obvious no ??? It is like that that I learned my mode ... If I remember correcly, Adam Nitti did some scale for a video for D'addario.

For the fingering well I will always use four fingers, four frets span ... when you don,t have the death grip ( putting you thumb over the neck touching the E strings like too many people do ) you can do that technic without any problem.

 

[251]

I agree completely. The two octave scale method was how I was initially taught to practice scales, but what I'm looking at doing with this particular exercise is trying to find a way to eliminate the root bias that seems to creep in, hence my attempt to adapt Levine's method.

To clarify, Mark Levine's approach is doable with a 2 octave fingering. I don't think of 2 octave fingering as efficient for hands the size of mine & find it physically challenging on fretted BG. I imagine it is more so on URB.