Epiphany: I've been playing my 5 like a 4 with an extra string

[TomB]

Yes, that's what I found out! I didn't even use my brain like I should have....I just started playing around the 7th fret and realized "Hey! The fifth fret layout looks just like the nut layout on a 4 string!" lol. Duh.

As someone else said earlier. I've found that about half my songs sound better played higher on the frets, and some sound better played near the nut.

This is true, as that fret 2-7 area of the fretboard tends to be a sonic sweet spot for classic tones & tunes. Though fret 5 (and up) is kind of a home base for my fingers on the 5, I do still play some things (even some originals) in first position. Classic sound, nostalgia, occasional open-string pattern (think Pretty Woman, Daytripper), and even a low D for a 5 in G. What fun!

 

[BassicJazzy]

Yes, that's what I found out! I didn't even use my brain like I should have....I just started playing around the 7th fret and realized "Hey! The fifth fret layout looks just like the nut layout on a 4 string!" lol. Duh.

As someone else said earlier. I've found that about half my songs sound better played higher on the frets, and some sound better played near the nut.

One of the things about walking lines is you can play the exact same thing the same way in two different positions of the board and it sounds totally different. Or you can split and play half in one position then shift and play the other half in a different position. Without this trick, you'd run out of variety in your line, at least in terms of note selection, pretty quickly.

I just reminded myself of one of Rich Brown's lessons, on The Brown'sTone YouTube channel, about soloing. He suggests drawing a line on the board and then developing a melody above the line, and another one below the line. Then you alternate between the two. Similar principle.

 

[sean_on_bass]

Any advice on "where" I should strive to place my hand? I'm thinking I should keep my hand around the C scale beginning with 8th fret on the B string.

it depends on the song and key, so no preferred section of the fretboard really.

 

[J Wilson]

An easy entry point: From your 4str where everything started from open E, MOVE that E to the B-string and work out from there.

You will start playing across than up and down the neck quicker than you think

 

[BassicJazzy]

An easy entry point: From your 4str where everything started from open E, MOVE that E to the B-string and work out from there.

You will start playing across than up and down the neck quicker than you think

I don't play 5's but that suggestion makes logical sense, at least to me.

 

[J Wilson]

I don't play 5's but that suggestion makes logical sense, at least to me.

Think of it:

On the four string, play a two octave, double Emaj scale, beginning on the open E and ending the second octave on E up the G string. Into the second octave you're going to have to shift your hand to finish up the D and G string.

On a five, you'd start on E on the B string, play the first octave, then shift two frets to play the second octave to the E on the G string. Aside from the small shift, the same fingering for each octave. Of course on the four, you could have hit the open E then shift up to G# on the E string and done the same thing, but I still am stuck to more narrow fingering choices overall: Repeat these two octaves in different keys and things narrow up fast. On a five I'd simply move every thing like Barre chords.

THIS is why a four and a five are two different animals, way past a four string with an extra string.

For me, it's way easier. But it's all down to what works for you, 4, 5, 6, whatever suits you the best.

 

[retslock]

I was watching a bassist play and he looked so effortless because he rarely moved his hand. His hand always hovered around the 8th or 10th fret, like a statue.

Then a light bulb went on in my head and I realized I've been playing my 5er like a 4-string down by the nut using open strings as much as possible. I've never really embraced the 5th string.

So, I'm going to take all my band's songs (about 50 songs) and transpose the notes up around the 10th fret and use the B string regularly.

When watching that bassist, I noticed that he used open strings regularly but in a different way. It's a mental shift.

Any advice on "where" I should strive to place my hand? I'm thinking I should keep my hand around the C scale beginning with 8th fret on the B string.

The E on the fifth fret sounds fatter than the open E and I use it way more. Many people think all you've got is 5 more notes below E. There's much more to it than that. Your fretting hand can access notes across the neck instead of moving along the neck. I play above the fifth fret a lot because it gives me greater access. Try playing a two octave E scale and you'll soon see how 5 strings makes some things much easier.
You also get nice fat grace notes below when you're playing in E or G and drop downs to the low C# from A sounds great. I use the B string a lot.

 

[BassicJazzy]

The E on the fifth fret sounds fatter than the open E and I use it way more. Many people think all you've got is 5 more notes below E. There's much more to it than that. Your fretting hand can access notes across the neck instead of moving along the neck. I play above the fifth fret a lot because it gives me greater access. Try playing a two octave E scale and you'll soon see how 5 strings makes some things much easier.
You also get nice fat grace notes below when you're playing in E or G and drop downs to the low C# from A sounds great. I use the B string a lot.

I've seen some 5 players mainly go to the B when they want to accentuate something on the bottom. That string definitely has a different sound, and anything played on it sticks out.

It's almost the reverse of how upright players use their G string, which has greater clarity, and sings out from the rest of what they are playing on the lower strings.

That said, I'm happy with my 4, even happier with my fretless 4.