If you care to help I have a few questions that would really help me out by answering.
#1: MODES: I've been learning my modes and I have them down pretty well - as well as scale degrees and their qualities. So if it's a 251 progression should I play 2 Dorian, 5 Mixolydian, 1 Ionian? Or just focus on the major/minor qualities and throw in model stuff for some flair? Any advice on making use of them?
#2: When reading Chord Sheets for a lot of worship/rock music I feel stuck on the root. Especially when the chords change a lot. Like I don't feel confident in adding in other notes and worry about missing the next chord change. I understand a lot of theory but when in the moment I feel glued to my root notes. Would love any advice...
#3: Knowing my fretboard well can sometimes make me feel slower when playing over a chord sheet because I could play a note in a few different places on the neck. Any advice on making decisions quicker? This also applies to walking bass lines. Moving from one chord to the next the thought on where is next feels slower because there are a few things I could do to get to a few different places where the next root is. This is a live in the moment thing I experience.
You are off to a really good start IMHO, but it's going to take time before you can use this material fluently.
#1. Thinking in terms of Dorian, Mixolydian, and Ionian?
I think there is some potential benefit as changing your mental process can help stir creativity. But you need understand that in one context D Dorian, G Mixolydian, and C Ionian are just different ways of describing the same notes. This is why I consider studying modes sort of learning the major keys inside out. You can think of C Major over the V chord, or you can think of G Mixolydian. The notes are the same, but the way you think about the notes is different, so you may instinctually make different note choices.
Another thing I think practicing modes does is prepare you hand to play the different modes automatically. If you do happen to think Mixolydian over the V, then your fingers know where to go without you thinking of the notes names. However, if you want to take this approach, then you need to have some idea how modes will relate to the minor keys as well.
Generally a V chord is going to have a dominant shape, in other words a major 3rd and minor 7th that have a tritone relationship to each other. In Major, V will infer Mixolydian. In minor, a V is generally going to be Phrygian Dominant (V in harmonic minor) or Mixolydian b6 (V in jazz/melodic minor). In natural minor the v is a minor chord and Phrygian mode. You won't see this very often.
#2 When reading Chord Sheets for a lot of worship/rock music I feel stuck on the root.
This may or may not be a problem. You should play something that is appropriate, and roots almost always fit. More importantly, you want to avoid playing notes that do not fit. In the genres you are playing, there may not be much room for notes other than the third.
If you want to practice and solidify your knowledge, I suggest practicing genres where there is an expectation to play more than the root. You may not be a huge fan of jazz, but learning to play walking bass is a good way to explore music theory and solidify you ability to play melodically.
3# Knowing my fretboard well can sometimes make me feel slower when playing over a chord sheet because I could play a note in a few different places on the neck.
Generally the closest note is the best from a technical standpoint. When you have a hard bass line to master, you will consider where to shift. The idea is to shift at a point that does not impact your ability to play the line. Different players may make different choices. Also the best choice can depend on where the line is coming from and where it is going. For example, you may have a line that starts low on the neck and ends high. So you have to find an efficient way of moving up the neck.
To expand on this a bit. I started on 4-string bass guitar. At some point I transitioned to 5-string, and then a few years later I transitioned to 6-string. While this was going on, I also changed from Simandl fingering, which uses 1,2,4, to one finger one fret (OFPF) which uses 1,2,3,4. The system of shifting and fingering I use now is totally different than the system I started with. With a 6-string, the easiest thing is generally to play across the strings. With 4-string you have to shift up and down the neck much more.
Another factor is playing in different ranges of the neck can impact the resultant tone. So although my natural tendency is to play across the strings, I may choose to shift up the neck if I want a thicker sound.
My advice is realize that music is a life-long journey and not a destination. If you stay engaged, you will continue to learn and develop throughout your life.
You seem to be off to a great start, but you need to find appropriate opportunities to use what you have learned. An experienced player will avoid overplaying in circumstances where it is not appropriate and desirable. So if the song really calls for roots, only play roots.
Generally the bass is expected to lay down the foundation and other instruments build the harmony and melody on top of the bass line. If you don't fill this expected roll when it's necessary, people will not want to play with you.
If you don't like playing the bass because you find it too limiting, you could always move to guitar or keys. IMHO keyboard/piano is really the best instrument for learning theory anyway.
