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Discussion in 'Technique [BG]' started by Fassa Albrecht, Sep 21, 2008.
lol thats funny
With all due respect to all the well-meaning posters, I think Fassa is just planning to do this as a means to mastering the entire fretboard, not as a permanent restriction. So she's really trying to get to the place you want her to be.
That could very well be. But if it isn't the case, my lecture is still required reading for, well, someone.
Hey, Jimmy...you never call ME "sweetie"
Long live the two-octave neck. Mine all go to 24 too. And the harmonics go even further, oh bliss.
Great...glad to hear it.
More work for the rest of us.
I'm going to think sexual thoughts every time I play now...
Yep, this is the idea.
Actually my main bass, my Shergold is a 20 fretter.
Errrrrrr....go and tell Peter Hook that. He plays ALMOST EXCLUSIVELY in the 12-24 fret range.
One more Shergold or Peter Hook reference and I'm killing a kitten.
I like Shergolds and Peter Hook!
As you wish. The blood is on your hands.
OK...that's 1 guy.
Good news for the other 99.9999999999...%.
I also play there sometimes.
whats so great about this peter hook guy. sounds like a reject test tube baby formed by combining the DNA of peter pan and captain hook.....
It's not really about sexual thoughts. It's about love and devotion. Like the way someone like Stevie Ray Vaughn played Hendrix "VooDoo Child". The raw emotion and deep feeling that will keep you going back for more....
Shergolds are cool.
Peter Hook seems to have have got caught exploring a gimmick that worked.
Bass long and prosper. It's your main bass; that means you were meant for one another. Congratulations: Many of us go through tens of basses before (if ever) we find that "main bass."
There's something of a difference between practice, which can be purely technical, and playing (especially as in "playing with others").
Two different situations, both calling for lots of versatility, etc., etc.
If it's purely technical, then let it be that way....some of the most successful pro's find a technical formula that works, and stay there. Really can't fault that.
Creative Technicians. Can't blame Hook for doing what he does, either.
Knowing the fingerboard inside & out will help you tremendously as a bass player. I personally like to minimize shifting, so I play in positions to accomplish that goal.
Here is a classic example (IMO) - the syncopated riff to "Sir Duke". On a 5 string bass, which is EASIER (less shifting): To start in 1st position playing the B with your 2nd finger or playing it in 6th position (B with 2nd finger)?
In 1st position, you have to use open strings in order to get the D & the timing right (or be able to stretch from the 5th fret to the 1st in time), and have to shift up the neck to the C#. In 6th position, you can stretch & play all notes in a closed fingering (no open strings), still reach the F# and no shifting during the 1st part of the riff. If you play a 4 string bass, you have the same starting options, with a different shift to get the low F#. Less concentration on shifting means the ability to focus on other things, such as listening to musical cues by other musicians / vocal cues, the ladies on the dancefloor, the TV in the bar, reading ahead, etc.
Knowing different positions & being comfortable in them will help you TREMENDOUSLY for sightreading on gigs. Instead of shifting frequently to execute ALL notes, you can potentially minimize the number of shifts involved. Example: Theater gigs with written out bass-parts. My knowledge of positions has helped me many times, because I knew how to play in all keys & know where the notes are for those keys.
The ability to play a full scale (any scale, any key) from any position is a great skill, and leads to an enhanced mastery of the instrument, as all music is made by playing selected notes from those scales. Fassa, keep practicing, and you will learn a lot by doing your test, if nothing more than new fingerings.
I love my Shergold.....best £300 I ever spent.