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Double stops

Shakin-Slim

Shakin-Slim

Jul 23, 2009
1,784
37
Tokyo, Japan
#1
Hi.

I'm interested in knowing what kind of double stops you guys use most often? I tend to use a tritone, sometimes R-b5 or maybe b7-10. Obviously these both work in the reverse too. I've been listening to a lot of Pino Palladino on Solquarian stuff like D'Angelo, Erykah Badu etc, which is where I've picked some of this stuff up. They sound great when you slide into them from a semitone below and let it hang a bit before the slide and resolution :)

Cheers,
Slim
 
#2
Well, in the context of double-stops, a tritone is the exact same thing as root/b5, so I'm not sure what you mean by that.

I use double and triple-stops on fretless regularly and on fretted. Part of my personal practice time is running diatonic root/3rds in root position and 1st inversion. Straight scalar, then alternating two up one down...etc. - there are all sorts of permutations you can "invent."

Same thing with octave versions: root/10th in diatonic and other scale-based patterns. One of the most useful applications I've found in double-stops is the ability to create a figured bass line by following a chord progression with different inversions (root position, 1st inversion and 2nd inversion).
 
#4
FretlessMainly said:
One of the most useful applications I've found in double-stops is the ability to create a figured bass line by following a chord progression with different inversions (root position, 1st inversion and 2nd inversion).
Click to expand...

That sounds very interesting but I'm not sure what exactly you mean. I am currently practicing major and minor triad arpeggios with all the inversions over chord progressions, so it would be quite interesting if you could elaborate.
Sorry for hijacking the thread though.
 
#5
All i know about double stops is that they are "2 note chords" and Chris Wood uses them a lot. I really dig Chris Wood and rip him off a lot. I don't technically know what it is I'm doing but I think it sounds cool. I also get a lot of positive comments on them. I believe it sets me apart from most bass players in my circle. So yeah, I'm a hack.
 
#6
These are all things i've played at gigs:
- 10ths most often as they fit in nicely.
- Parallel 4ths: moving like a bar chord along two strings same fret. eg. A-D to B-E (7th to 9th fret barring D&G strings).
- Fake low notes eg fake a Low D by power chord D-A (10th fret E string/12th fret A string). Must pluck both strings at same time.
- 5ths i play mostly higher up, they 'thicken up' a line esp if playing a long note and wanting it to sustain in the high register. Smoother if you pluck notes NOT at same time, or you'll get an octave down effect.
- I seem to play 3rds quite high up in more a guitar fashion on fretted bass ie. pick the notes alternately but let them ring out. Sliding on Fretless they sound awesome (when in tune) ;)
- b7ths work in funk, blues, etc.
- natural 7th rarely except Jazz ending to complement another player.
- I guess I don't do 6ths or 2nds. 9ths not much.

Triple stops:
- Funkiest is low E with D-G# (b7/3rd tritone) 12/13th fret D&G strings. Sliding in fret fret below or step up from 2 frets below.
- A string open plus C#-G (3rd/b7th tritone) 11-12th frets D&G strings.
- A string open, C# on 11th fret D string, high A 14th fret G string.
 
#7
Tritones are great. A 10th over a b7 and b7 over a 3 are different inversions of the same notes. Starting with the most consonant, octave double stops add a little beefiness to a bass line. Perfect fifths are similar. Listen to Stanley Clark's title cut on School Days for an example of fifths. The perfect fifth is so consonant that it almost doesn't seem like a chord. I like tenths too. Listen to the electric version of Herbie Hancock's Watermelon Man. One of my favorite double stop tunes is Ron Carter's cover of Blue Monk. I play a fretless 4 string. Jaco used lots of double stops. Playing high register double stops with good intonation takes practice. As a rule, the more dissonant the interval (e.g. tritone) the higher the notes need to be. For example, a low F above the open B string is not a pleasing sound. Almost any interval can work as a double stop, but the key is being tasteful.
 
#9
FretlessMainly said:
Well, in the context of double-stops, a tritone is the exact same thing as root/b5, so I'm not sure what you mean by that.

I use double and triple-stops on fretless regularly and on fretted. Part of my personal practice time is running diatonic root/3rds in root position and 1st inversion. Straight scalar, then alternating two up one down...etc. - there are all sorts of permutations you can "invent."

Same thing with octave versions: root/10th in diatonic and other scale-based patterns. One of the most useful applications I've found in double-stops is the ability to create a figured bass line by following a chord progression with different inversions (root position, 1st inversion and 2nd inversion).
Click to expand...

Wouldn't a "triple-stop" be a proper chord? or a voicing of one?

And yes I love double stops, I like the 3rd and 10th, occasionally the 5th (see my name? I flatten it regularly as well :D)
 

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