Fingering when playing scales

[Pastafarian]

Sorry if this has come up before, but I couldn't find anything...

When I started practising scales, I used three fingers on my fretting (left) hand only. Now, I'm trying to integrate my pinky as much as possible, but it seems a bit awkward when practising scales, even if that's an ideal way to practise using my pinky.

For C major, at the moment, I play this (fingering below the tab)

D|------------------2--4--5--------
G|---------2--3--5-----------------
A|---3--5--------------------------
E|----------------------------------

1 3 1 2 3 1 3 3


I'd like to switch to playing this:


D|------------------2--4--5--------
G|---------2--3--5-----------------
A|---3--5--------------------------
E|----------------------------------

2 4 1 2 4 1 3 4

But it just don't feel right - I can see the benefits of practising like this, and it seems 'technically correct' to use one finger per fret, but something about it just doesn't feel natural - i.e. even a seasoned player wouldn't have his weakest finger playing most of the notes. That's in contrast to playing songs, when often the pinky feels absolutely right - just here it doesn't.

I'm going to try to practise scales and modes more often, but before I do so, should I get into the habit of using my pinky, or is my current approach just fine for scales?

Thanks in advance.

 

[standupright]

do you really tune you g and d strings backwards?

 

[winstonthecat]

There is a lot of discussion about the One-Finger-Per-Fret (OFPF) technique, so I won't go into all that.

I use OFPF from about the 5th fret on up, because even though I have fairly large hands, I get some wrist soreness if I try OFPF on frets 1-4.

That said, I would play the scale like you described in your 2nd example, but would shift my hand enough to keep the stretching to a minimum. The more you practice with the pinky, the stronger it will become, and the more natural you'll feel using it.

 

[JTE]

Sorry if this has come up before, but I couldn't find anything...

When I started practising scales, I used three fingers on my fretting (left) hand only. Now, I'm trying to integrate my pinky as much as possible, but it seems a bit awkward when practising scales, even if that's an ideal way to practise using my pinky.

For C major, at the moment, I play this (fingering below the tab)

D|------------------2--4--5--------
G|---------2--3--5-----------------
A|---3--5--------------------------
E|----------------------------------

1 3 1 2 3 1 3 3


I'd like to switch to playing this:


D|------------------2--4--5--------
G|---------2--3--5-----------------
A|---3--5--------------------------
E|----------------------------------

2 4 1 2 4 1 3 4

But it just don't feel right - I can see the benefits of practising like this, and it seems 'technically correct' to use one finger per fret, but something about it just doesn't feel natural - i.e. even a seasoned player wouldn't have his weakest finger playing most of the notes. That's in contrast to playing songs, when often the pinky feels absolutely right - just here it doesn't.

I'm going to try to practise scales and modes more often, but before I do so, should I get into the habit of using my pinky, or is my current approach just fine for scales?

Thanks in advance.

Well, your weakest finger is NOT playing "most" of the notes, it's playing 3 of 8, which is 38%. Other fingers are playing the other 62% of the notes...


More to the point- I find one finger/fret to be a very useful and practical way to play music on the bass. And practicing the diatonic major scale over one octave helps learn to use that. I'd suggest that the very fact that it feels funny to you is a good reason to work at it. The more you do it the less awkward it will feel. And overcoming that will allow you options when it comes to really playing music.

John

 

[Fergie Fulton]

One of the biggest debates over scales as a practical way to learn
is whether they are a better way than learning chord tones. And you have one of the arguments for learning scales correctly, the use of the fingers properly and the training of them. Yes chord tones are a great way, but the exercise your hands get are a different in each way, both are relevent and should be run side by side.

To understand it you have to look at one finger per fret, but up at the 12th fret to start with. You have two basic paterns to adapt, a major and a minor. Major starts on the middle finger, minor start on the forefinger and we go across 3 strings in each case.

For major put your middle finger on the E at the octave and adopt a one finger per fret set up from this, then play the E major scale across 3 strings.
Note the shape of what you have just played, look at it a see how each finger has job in relation to the finger next to it. See how as you move over the strings the finger is free and ready in position to play the next note.
That shape regardless of where you put it on the neck over 3 strings on a standard tuned 4 string bass will give you a major scale that the middle finger starts on. so if you start on E you have E major if you move it and start on C# you have C#major and so on.

For minor adopt the same position on the E string and this time the forefinger is on the E octave in the one finger per fret system. Now play an E minor scale over 3 strings, again look at
the shape of it and how the fingers interact with it.
Again if you move this shape on the neck you have a minor scale over 3 strings where the forefinger starts, as in the major example, but this time the minor scale.

Once you can do this with ease, move the shape around, be wary of going below the 7th fret till your hands are strong enough.
I find starting as high on the E string as allows you to finger these scales, play them across the stings in a cycle of 5ths, alternating between major and minor, on the E and A string, backwards and forwards building up dexterity and strength, while you hear the scales interact.

When you come to fingering scales as modes you will find the concept easier as you now have a visual aid as well as just listening to help you relate to what is going on.
Have fun

 

[Ten Four One]

I'd suggest that the very fact that it feels funny to you is a good reason to work at it. The more you do it the less awkward it will feel. And overcoming that will allow you options when it comes to really playing music.

Meh. I have small hands & I don't play one-finger-per-fret and my playing is just fine. Also, unless I have the bass slung way up, in a totally uncool non-rock n' roll way, doing one-finger-per-fret will twist my wrist into an unnatural position. But, again, when it calls for it, I just pull the neck up so that it's practically vertical & do what it takes to play the part.

I do play one finger per fret when it calls for it, but generally not that far down on the neck.

 

[gregmerrill]

Learn them all ways one at a time. Start the most basic way then figure out a different way. For example try playing the scale on just one string making shifts or try it on just two strings making less shifts. This will be great for your knowledge of the frett board and harmony and be great for your technque as well.

 

[Pastafarian]

Thanks all. The idea of practising higher up the neck hadn't occurred before - sounds really useful. As does the idea of trying to play the scales on one or two strings. Will have a stab at both. Sounds, on balance, like training myself to play OFPF is the way forward.

Cheers again!

 

[Fergie Fulton]

Thanks all. The idea of practising higher up the neck hadn't occurred before - sounds really useful. As does the idea of trying to play the scales on one or two strings. Will have a stab at both. Sounds, on balance, like training myself to play OFPF is the way forward.

Cheers again!

Its a simple theory, if you are higher up the neck you are away from the bridge and nut,( loading points, so the most tension) you are roughly in the middle of of the two loading points so it is the area of least resistance, area of least stretch for the fingers, so the easiest and and safest place to practice and build strength before moving to other areas that will demand more of you.

As for one or two strings, again a great way to learn your instrument and hear different timbres of the same note when they occur.