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#6
So... I'm curious if anyone has actually practiced these exercises? This type of work has been a cornerstone of my teaching for years. Learning the neck. Developing your personal understanding of how it works, how it's laid out, how musical information repeats itself throughout the fingerboard, how timbral changes effect the texture, and the groove... To me, this is the GOOD stuff! It's the difference between playing something based on tab, or someone else's opinion, or simply however you were able to figure it out. Unlocking the fingerboard lets you make decisions about note choice and placement in real time. As educational material, it's always seemed to be a bit of a hard sell though. People say they get it, but how many really put in the time? From my decades of working this with students, I'd say 70% of them didn't have this together at all, 20% didn't have it well enough to use it, and maybe 10% of my students could NAIL it. It's not sexy, or flashy - it won't amaze your friends, or the sales guy at GC... but if you master it, (and you ever get to play with people again) - you WILL amaze them with your ability to play the right thing at the right time. Do I need to issue a formal challenge? (How does one even do that?)
 
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#7
edfriedland said:
So... I'm curious if anyone has actually practiced these exercises? This type of work has been a cornerstone of my teaching for years. Learning the neck. Developing your personal understanding of how it works, how it's laid out, how musical information repeats itself throughout the fingerboard, how timbral changes effect the texture, and the groove... To me, this is the GOOD stuff! It's the difference between playing something based on tab, or someone else's opinion, or simply however you were able to figure it out. Unlocking the fingerboard lets you make decisions about note choice and placement in real time. As educational material, it's always seemed to be a bit of a hard sell though. People say they get it, but how many really put in the time? From my decades of working this with students, I'd say 70% of them didn't have this together at all, 20% didn't have it well enough to use it, and maybe 10% of my students could NAIL it. It's not sexy, or flashy - it won't amaze your friends, or the sales guy at GC... but if you master it, (and you ever get to play with people again) - you WILL amaze them with your ability to play the right thing at the right time. Do I need to issue a formal challenge? (How does one even do that?)
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Thank you very much for your lessons.
I love your "Oddball scales"!

Just one question.
(From your "Know your neck #4 sheet).
Ex.:#17
17.PNG

I could not find a similar fingering starting on the 3rd fret of the A string.
 
#8
edfriedland said:
So... I'm curious if anyone has actually practiced these exercises? This type of work has been a cornerstone of my teaching for years. Learning the neck. Developing your personal understanding of how it works, how it's laid out, how musical information repeats itself throughout the fingerboard, how timbral changes effect the texture, and the groove... To me, this is the GOOD stuff! It's the difference between playing something based on tab, or someone else's opinion, or simply however you were able to figure it out. Unlocking the fingerboard lets you make decisions about note choice and placement in real time. As educational material, it's always seemed to be a bit of a hard sell though. People say they get it, but how many really put in the time? From my decades of working this with students, I'd say 70% of them didn't have this together at all, 20% didn't have it well enough to use it, and maybe 10% of my students could NAIL it. It's not sexy, or flashy - it won't amaze your friends, or the sales guy at GC... but if you master it, (and you ever get to play with people again) - you WILL amaze them with your ability to play the right thing at the right time. Do I need to issue a formal challenge? (How does one even do that?)
Click to expand...
No (not yet) but I did got through most of your exercises in your "Bass Grooves" book. Like you said, not sexy or flashy, but incredibly useful!

Been finding it hard to practice during the pandemic. Bands not rehearsing because no good space to get together safely. Sounds like you are offering online lessons, huh? Hmm....
 
#10
HeadWind said:
No (not yet) but I did got through most of your exercises in your "Bass Grooves" book. Like you said, not sexy or flashy, but incredibly useful!

Been finding it hard to practice during the pandemic. Bands not rehearsing because no good space to get together safely. Sounds like you are offering online lessons, huh? Hmm....
Click to expand...
I totally get that. I haven’t felt like doing much during most of this pandemic, it was only recently that I got my ass off the couch and started doing things again! And yes, I’m doing Skype lessons again.
 
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#11
edfriedland said:
So... I'm curious if anyone has actually practiced these exercises? This type of work has been a cornerstone of my teaching for years. Learning the neck. Developing your personal understanding of how it works, how it's laid out, how musical information repeats itself throughout the fingerboard, how timbral changes effect the texture, and the groove... To me, this is the GOOD stuff! It's the difference between playing something based on tab, or someone else's opinion, or simply however you were able to figure it out. Unlocking the fingerboard lets you make decisions about note choice and placement in real time. As educational material, it's always seemed to be a bit of a hard sell though. People say they get it, but how many really put in the time? From my decades of working this with students, I'd say 70% of them didn't have this together at all, 20% didn't have it well enough to use it, and maybe 10% of my students could NAIL it. It's not sexy, or flashy - it won't amaze your friends, or the sales guy at GC... but if you master it, (and you ever get to play with people again) - you WILL amaze them with your ability to play the right thing at the right time. Do I need to issue a formal challenge? (How does one even do that?)
Click to expand...

Yes Ed, 100%. These are the type of exercises that help to break the box. It might be less of a hard sell if they were accompanied by a little context. For example, why one might choose one fingering over another for what look like, at first glance, the same notes. Like aiming at low strings on high frets for a thicker, gooey tone, or higher strings lower frets for brighter tone and crisper articulation. Or how different fingerings can connect various regions of the fingerboard according to what comes next. But I like these types of thing. As you say, with the right approach and a sprinkle of imagination they can be the gift that keeps on giving...
 
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