Breaking away from thinking in patterns.. HELP!

Discussion in 'General Instruction [BG]' started by metalguy2, Jan 19, 2005.

  1. metalguy2


    Dec 26, 2004
    And it makes NO SENSE. Compared to things like the piano. And alot of the time it really easy to break things down into pattens. But this isn't the way to do it. I figured this out because my buddy threw a chord progression into the air(he plays piano) And I hadn't a clue of where to begin. I figured out that these were chord structures and scales WAAAY outside the patterns I am used to following. (I.E. If he were doing chords in the key of G I would have been fine) But he was using flat chords en ****. DAMMIT!! Now I am taking the extra step.. and putting my instrument down for a little bit. And working on my JUST my music theory. Hopefully it will translate well to my instrument when I go back to pick it up. Any body else have any suggestions on how to apply this type of music theory to the freatboard without relying on patterns. Currently I am using flash cards to aid this.
  2. jeff schmidt

    jeff schmidt no longer red carded, but my butt is still sore.

    Aug 27, 2004
    Novato, CA
    Hmmm. All music is patterns. There's just the patterns you know - and the ones you don't know. Yet. ;)

    And lots of songs don't strictly follow diatonic harmony.

    Follow the chord qualities as a guide. Since each chord can imply many different scales - the key is to listen - and make choices based on what sounds best to you. If there's a melody over the chords - pick it out and learn it on the bass. It will help you with your bass line construction.

    In regards to learning the fretboard. It's simply a matter of doing the work.

    But here is the tedious key to the knowledge you crave.

    Everything you learn to play - learn EVERY way and place it can be played on the bass. Any idea - run it in every possible configuration you can on the bass.

    Focus on that - and you'll start seeing all kinds of very helpful patterns emerging on your fingerboard. You soon realize the "patterned nature" of music is extremely beneficial.
  3. metalguy2


    Dec 26, 2004
    Now are you talking about transposing everything I do?
  4. jeff schmidt

    jeff schmidt no longer red carded, but my butt is still sore.

    Aug 27, 2004
    Novato, CA
    Well, kind of. Transposing means playing the same intervals at higher or lower pitches.

    My suggestion was to explore every way - and every place the same line can be played on the bass.

    Start with any line - preferably a line you know fairly well.

    Now find those same notes every place on the neck and learn to play the same line in all those places as well.

    A few spots on the neck will force you to finger the line using different strings and fingering pattern. Thus forcing you to SEE and FEEL the old pattern differently.

    Once you run through this on a few pieces you'll have a better idea how all the notes - and patterns created with those notes connect across the fingerboard.

    In this process you will - in effect - be transposing into higher octaves in spots - but that's not the point. The point is to break out of your old "patterns" by playing the lines you know in one spot on the neck in other spots on the neck.
  5. Aaron Saunders

    Aaron Saunders

    Apr 27, 2002
    Flat, Eb? Or Ebmaj7b5#9? These still fit in patterns...just different ones. Learning your modes helps here!
  6. metalguy2


    Dec 26, 2004
    The point was to break away from a pattern style of thinking...
    BTW thanks jeff

    I will try
  7. Matt Ides

    Matt Ides

    May 12, 2004
    Minneapolis, MN
  8. sedgdog


    Jan 26, 2002
    Pasco, WA
    Here is a good exercise I received from Jeff Berlin. Take a tune like Autumn Leaves. Start with the first chord Am7 and play the lowest chord tone of the chord, in this case low E on a 4-string. Ascend up the neck in to the next chord tone for 4 beats per measure. So the next chord tone is low G, then A, then C. The next chord is D7 who's next closest chord tone from the C of the Am7 is D. Then F#, A, C. Next chord is Gmaj7 who's closest chord tone from the C of D7 is D, then F#, G, B. In the case of the Gmaj7 the first available chord tone wasn't a root but instead the 5th. Keep ascending until you reach the highest spot on your bass then keep going only descend. As you can see this exercise forces you to think notes instead of patterns. Take it very slow. After you get comfortable with 4 notes per chord tone try eight.

    All the best,
  9. Kurisu


    Nov 19, 2003
    Saskatoon SK
    Hey, that's a pretty good exercise, thanks sedgdog!
  10. I wouldn´t tell you to put your bass down.. You should practice modes WITh your bass, for learning new patterns relating them to their chords and consecuently , training your ears.. Sedgdog's method is a very clear one for doing it.