I thought I knew the neck

[Dr Zee]

Today at practice the D string broke and I thought, I know where all the notes are on the neck I can get through.
Well that wasn't exactly true.
My fingers kept wanting to go where they were used to going and it was damned hard to convince them to go to the other places the notes were.
It got me to thinking about practicing as if there was a broken string.
I'd like to hear who's also thought about this and done it.

J.Z.

 

[GaDawg78644]

I’m a newbie (3 months) and I am trying to play a songs 1) on only 1 string, 2) like you would play a scale (3 strings), to learn the fretboard.
You just shared a good reason to know the fretboard well and be able to use it when needed.

 

[12BitSlab]

Today at practice the D string broke and I thought, I know where all the notes are on the neck I can get through.
Well that wasn't exactly true.
My fingers kept wanting to go where they were used to going and it was damned hard to convince them to go to the other places the notes were.
It got me to thinking about practicing as if there was a broken string.
I'd like to hear who's also thought about this and done it.

J.Z.

I did something very similar to that when I was young (Julius Caesar was still running Rome). I would practice a song on the E string. Then I would use only the A string, etc.

The other thing that helped me quite a bit was to say the name of the note I was playing as I played it.

 

[Shenron]

I wouldn't put much time on it... For a simple song, basic fretboard knowledge will get you to the end of it. Complex songs will probably be impossible anyway so I might just play by muscle memory even if skipping notes, then apologise to the audience for the incident. I certainly would not invest time relearning a whole setlist in alternative ways around missing strings, when I can spend it on more valuable improvements. Besides, I have yet to break a string on bass at all.

 

[Lobster11]

I don't think what happened is any reflection on your knowledge of the fretboard. If you've practiced a song dozens of times a certain way, it's no surprise that your "muscle memory" took over.

Also, the fact that it was the D string is crucial. Most of us would have little trouble if we broke the G string, or even the E; we could get by with only 3 strings if they are adjacent strings. You're asking too much of yourself to think you can adjust on the fly to the absence of that particular string, no matter how well you know the fretboard.

 

[FullumMusic]

Knowing where all the notes are and fighting muscle memory are two different things.

You can know every note on the fretboard and your fingers will still want to go where they've repeatedly gone every time you've practiced. That's what practice does. It ingrains muscle memory.

If you want to get good at playing while missing a string, you need to practice playing everything you know with each string missing so much that it becomes almost as second-nature as playing with all the strings.

But, is dedicating that much practice time to a situation that might happen once or twice every half decade worth it?
I wouldn't sweat it too much. Carry spare strings and if strings do break, just get through the song or set as best you can until you can change the strings.

I used to be really good at playing around broken strings when i was younger because i broke strings ALL THE TIME, so i was playing around broken strings quite often. At some point i changed the bridge on that bass (and got more & better basses) and almost never break strings anymore (knock on wood.) I'd probably be trash at playing around broken strings now because i haven't had to do it in a decade or so.

 

[Aussie Player]

Not worth the stress and mental gymnastics for me. I always have a back up bass and swap out. Takes seconds and isn't a big issue.

 

[brianrost]

It got me to thinking about practicing as if there was a broken string.

Jazz guitarist Mick Goodrick suggested playing on only one string, then only on two strings, etc. as a practice exercise.

I don't know how many 5 or 6 string players do this, but for songs that don't require more than two or three strings, I'll try playing them on as many string combinations that work…say try B, E and A strings, then E, A and D strings and even A, D, G strings if possible. It helps me decide about position shifts as well as hearing the tonal differences.

 

[mambo4]

For me a 'lightbulb moment' understanding the neck came from Pac Man's sure fire scale practice method

In essence the "trick" was thinking in 3 note spans instead of 4 fret spans
The four fret boxes confine you to a very small range on each string -just a minor third
that 1 finger per fret, minor 3rd "box" is what most of us learn our scales from
so i's common muscle memory to move up a string for intervals a major 3rd or larger.

But if you play 3 notes per string, as the exercise describes,
you find your self spanning more than 4 frets at times
this "broke the box" for me
I started practicing scales using 3, 4, 5 notes per string
you start perceiving the scale shapes as larger than 4 fret boxes
very freeing

 

[Lobster11]

Jazz guitarist Mick Goodrick suggested playing on only one string, then only on two strings, etc. as a practice exercise.

I don't know how many 5 or 6 string players do this, but for songs that don't require more than two or three strings, I'll try playing them on as many string combinations that work…say try B, E and A strings, then E, A and D strings and even A, D, G strings if possible. It helps me decide about position shifts as well as hearing the tonal differences.

I'm all for that, but as per my previous comment, I don't think anyone practices using only the E, A, and G strings. It was just unlucky that OP happened to break the D string rather than the G or E.

 

[HolmeBass]

I wouldn't put much time on it... For a simple song, basic fretboard knowledge will get you to the end of it. Complex songs will probably be impossible anyway so I might just play by muscle memory even if skipping notes, then apologise to the audience for the incident. I certainly would not invest time relearning a whole setlist in alternative ways around missing strings, when I can spend it on more valuable improvements. Besides, I have yet to break a string on bass at all.

Never apologize to the audience!!

 

[Engle]

Today at practice the D string broke and I thought, I know where all the notes are on the neck I can get through.
Well that wasn't exactly true.
My fingers kept wanting to go where they were used to going and it was damned hard to convince them to go to the other places the notes were.
It got me to thinking about practicing as if there was a broken string.
I'd like to hear who's also thought about this and done it.

J.Z.

I think there is a lot of value in learning your lines and riffs in multiple positions on the fingerboard. I do this regularily.
And confining yourself to 2 strings is a good exercise.
Breaking a D string is unusual and not likely to happen very often.

 

[brianrost]

per my previous comment, I don't think anyone practices using only the E, A, and G strings. It was just unlucky that OP happened to break the D string rather than the G or E.

I’ve had that happen on stage and it’s fun to rethink your fingerings on the fly

Gotta stay positive!

 

[micguy]

I don't think what happened is any reflection on your knowledge of the fretboard.

There are a couple kinds of "knowledge of the fretboard"

1) You can point out where all the "C's are on your bass - that is, to some extent, "knowledge of the fretboard" It's kinda useful if you're figuring out a new song, but not really useful for real time stuff while you're playing.

2) Ear knowledge - fretting hand coordination - you've played things in all the keys in all different places to where you're not thinking "C"; you're just playing the next note that you want - you may not even know the name of the note you're playing, your hands just instinctively go there. In the situation you were in, this is what will get you through. This is not something you will ever find in a textbook - it's something you gain through lots and lots of time with the instrument.

One thing that has ramped up my skill level at this in the last few years was switching to 5'ers - when you have a B string, you suddenly have more positions that you can play things - you're not forced to play down low on the neck when you get to the notes low on the E string, as those notes are also on the B string. As a result, you end up playing things in different positions, and you automatically get more familiar with all of the fretboard - it sounds a bit odd, but it is true - at least the way I approach practice. When I first started playing 5's, ti was initially confused by the change in physical format, as my brain was wired to know where things were on a 4 string, but it wasn't too long before I realized It was teaching me things I didn't know before.

 

[Lobster11]

I’ve had that happen on stage and it’s fun to rethink your fingerings on the fly

Gotta stay positive!

If you were able to figure out new fingerings using only E, A, and G strings on the fly, "You’re a better man than I am, Gunga Din."

That said, I probably could make it through the rest of the song using only the E and A strings: I don't think I could find new fingerings on the fly that omit the D string but still include the G. But then I'd have a backup bass to switch to once the song was over.

 

[Smooth_bass88]

Today at practice the D string broke and I thought, I know where all the notes are on the neck I can get through.
Well that wasn't exactly true.
My fingers kept wanting to go where they were used to going and it was damned hard to convince them to go to the other places the notes were.
It got me to thinking about practicing as if there was a broken string.
I'd like to hear who's also thought about this and done it.

J.Z.

A good thing to do is practice scales (major, minor, pentatonic etc.) on one string going up and down the neck. This forces you to think about notes instead of 'patterns'.

 

[Groove Doctor]

I read this in a Bass Guitar magazine in the 80’s. It’s only hard the first dozen times you do it, then it gets MUCH easier.

It forces your mind out of thinking there’s only one way to do things. (Some people might find it a lot harder than others, so be patient with yourself if that’s the case).

I used to pretend I had a broken string while at band practices for really boring repetitive songs just to keep my brain from switching off. Kept me sharp and stoped me getting bored. That was decades ago.

I had a string core break at the string tree recently at a Disco band gig and I finished the set no worries. It was just like riding a bike for me.
… that said I couldn’t sing BV AND play bass at the same time while doing this for certain songs, so yes it did take more concentration and a lot more looking at the neck to get my position shifts spot on.

If you want to get good at playing while missing a string, you need to practice playing everything you know with each string missing so much that it becomes almost as second-nature as playing with all the strings.

Not everything you know…. just enough times to get your brain around doing alternate fingering on the fly.

Jazz guitarist Mick Goodrick suggested playing on only one string, then only on two strings, etc. as a practice exercise.

I found this a great exercise too. Your position shifts are soooo much easier after doing this exercise.

A good thing to do is practice scales (major, minor, pentatonic etc.) on one string going up and down the neck. This forces you to think about notes instead of 'patterns'.

Spot on. Do this scales & arpeggios exercise IMMEDIATELY BEFORE doing it for songs. I found it helped get my mindset right and playing the song much easier.

Practicing songs in multiple positions and in different octaves also helps you think about the notes a lot more, not just finger positions and relative pitch (I IV V vi etc).

 

[edwinhurwitz]

Jazz guitarist Mick Goodrick suggested playing on only one string, then only on two strings, etc. as a practice exercise.

I don't know how many 5 or 6 string players do this, but for songs that don't require more than two or three strings, I'll try playing them on as many string combinations that work…say try B, E and A strings, then E, A and D strings and even A, D, G strings if possible. It helps me decide about position shifts as well as hearing the tonal differences.

I learned much of what I know from a student of Mick Goodrick's who taught me in the 80s. The way I learned the instrument under his method gave me a lot of flexibility. It's been a while since I broke a string, but it used to happen regularly when I had a much more aggressive style. While not every part could be easily played with a busted string, especially long scalar licks, but if you free yourself from position playing, it's not as difficult as it could otherwise be. I have often challenged myself by playing parts in different spots on the neck and it pays off in many ways.

I really enjoyed Goodrick's ideas, albeit vicariously. His book that came out later, The Advancing Guitarist, is excellent and quite applicable to bass.

 

[JonathanPDX]

I love fretboard nerdery! I have examples of shapes and visuals in my TED Talk, so I won't go into all that here, but a few thoughts:

Knowing where every single instance of each note is located is SUPER important. You should be able to close your eyes, grab a random 4-fret span, and know how many instances of each note are within reach. It's important to recognize the difference between enharmonic notes and actual different pitches, for example, the E string at the 12th fret and the D string at the 14th fret are two different pitches of E, while E at the 12th fret and the A string at the 7th fret are both E but produce the same pitch.

Next, mapping out your fretboard into intervals. Sure, you know there's a C at the 10th fret on your D string, but if you play it with your first finger, how many major thirds can you access without shifting? What if you do the same exercise playing it with your pinky? What if you allow yourself a single shift up or down, how many major thirds can you reach? Repeat this for every interval.

Since the bass is all patterns, every interval has a pattern that repeats everywhere on the instrument. Up one string and up two frets from a given note gives you a perfect fifth, going down one string on the same fret gives a perfect fifth. Up 3 strings (from E to G) and four frets also gives you a perfect fifth. Recognizing these patterns up and down is important, some bass players only work on ascending intervals and their walking lines really suffer as a result.

To really open up the entire fretboard I find it very useful to practice shifting exercises. For example, I might play my major scale in C starting with my 2nd finger on the E string 8th fret, play up to the fifth (with the pinky) and then shift my entire hand up a whole step and continue the scale. This allows me to easily reach the 12th fret on G, the fifth, without having to shift up and down at the very end when I run out of space. The next question, which is really the big one, is: If I want to extend this scale, from the 8th fret on E to the 2nd octave root on the G string 17th fret, what is every possible shift I could make to get me there? Sure, I could wait until I run out of fingers and play the last 4 or 5 notes with my pinky on the G string, but there are way better ways that allow me to play fluidly and incorporate more interesting ideas like arpeggios or sequences.

Mastering the fretboard is knowing your notes, intervals, scales, and having systems for shifting fluidly so you can access any note at any time in an efficient manner.

I've had every possible reason to use these tools: broken strings, songs transposed on the fly (sometimes without any advance notice), reading charts, playing over changes where you can't easily rely on basic patterns, etc. If I'm reading a chart, or watching for cues, or watching a guitarist or keyboardist's hands to see what the heck the chords are, I can't spare any brain power to find my own notes or tell my fingers where they are. It has to be automatic.

 

[N. Kentucky Bass]

I love fretboard nerdery! I have examples of shapes and visuals in my TED Talk, so I won't go into all that here, but a few thoughts:

Knowing where every single instance of each note is located is SUPER important. You should be able to close your eyes, grab a random 4-fret span, and know how many instances of each note are within reach. It's important to recognize the difference between enharmonic notes and actual different pitches, for example, the E string at the 12th fret and the D string at the 14th fret are two different pitches of E, while E at the 12th fret and the A string at the 7th fret are both E but produce the same pitch.

Next, mapping out your fretboard into intervals. Sure, you know there's a C at the 10th fret on your D string, but if you play it with your first finger, how many major thirds can you access without shifting? What if you do the same exercise playing it with your pinky? What if you allow yourself a single shift up or down, how many major thirds can you reach? Repeat this for every interval.

Since the bass is all patterns, every interval has a pattern that repeats everywhere on the instrument. Up one string and up two frets from a given note gives you a perfect fifth, going down one string on the same fret gives a perfect fifth. Up 3 strings (from E to G) and four frets also gives you a perfect fifth. Recognizing these patterns up and down is important, some bass players only work on ascending intervals and their walking lines really suffer as a result.

To really open up the entire fretboard I find it very useful to practice shifting exercises. For example, I might play my major scale in C starting with my 2nd finger on the E string 8th fret, play up to the fifth (with the pinky) and then shift my entire hand up a whole step and continue the scale. This allows me to easily reach the 12th fret on G, the fifth, without having to shift up and down at the very end when I run out of space. The next question, which is really the big one, is: If I want to extend this scale, from the 8th fret on E to the 2nd octave root on the G string 17th fret, what is every possible shift I could make to get me there? Sure, I could wait until I run out of fingers and play the last 4 or 5 notes with my pinky on the G string, but there are way better ways that allow me to play fluidly and incorporate more interesting ideas like arpeggios or sequences.

Mastering the fretboard is knowing your notes, intervals, scales, and having systems for shifting fluidly so you can access any note at any time in an efficient manner.

I've had every possible reason to use these tools: broken strings, songs transposed on the fly (sometimes without any advance notice), reading charts, playing over changes where you can't easily rely on basic patterns, etc. If I'm reading a chart, or watching for cues, or watching a guitarist or keyboardist's hands to see what the heck the chords are, I can't spare any brain power to find my own notes or tell my fingers where they are. It has to be automatic.

Link to your TED talk?