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Question about chords
- Thread starter I Need a six...
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Also, are you making chords or playing multiple strings at the same time? Or just playing standard bass with one note walking patterns and position shifts?
I had some wrist problems last year when I finally started practicing guitar more ... barre chords ... having played piano for 50+
yrs ,.. and bass/gtr for 40+ yrs ... arthritis has set in ... but , for the wrist pain I was doing some Carpal Tunnel type exercises ... stretching ... and doing those very boring Wrist Curls ..!! strengthen the muscles around the tendons for less pains ..!
yrs ,.. and bass/gtr for 40+ yrs ... arthritis has set in ... but , for the wrist pain I was doing some Carpal Tunnel type exercises ... stretching ... and doing those very boring Wrist Curls ..!! strengthen the muscles around the tendons for less pains ..!
Depending on the chord and the voicing there will probably be some wrist bend, especially if it involves some sort of barring and a reach.
For instance I can play a major/minor bar chord (root, fifth, root, third voicing) without too much bend, but will bend if I change that octaved root to the 9th for a minor add 9 chord.
Try some shell voicings (leave out some notes), you can get much more comfortable hand positions, if you leave out some less important notes fifths if they are not sharp or flat can be easily left out.
Try voicing a 7th as (root, skip, 7th, 3rd), can be played with a fairly straight wrist with a bit of adjustment.
Any specific chords you are trying to play?
For instance I can play a major/minor bar chord (root, fifth, root, third voicing) without too much bend, but will bend if I change that octaved root to the 9th for a minor add 9 chord.
Try some shell voicings (leave out some notes), you can get much more comfortable hand positions, if you leave out some less important notes fifths if they are not sharp or flat can be easily left out.
Try voicing a 7th as (root, skip, 7th, 3rd), can be played with a fairly straight wrist with a bit of adjustment.
Any specific chords you are trying to play?
Looks to me like you're trying too hard to have good technique, and in the process you're overdoing it and going the opposite direction. Relax and concentrate less on your technique and just try to keep pain-free. If you don't have pain, don't sweat it. If you do, make some adjustments. This is where it greatly helps to have a teacher who's good with technique and playing chords.
And good for you for ignoring the advice to "be the bass player." Can't tell you how irritating and disappointing it is to hear something like that come from other bass players. When I get someone telling me I can't play a certain way, I always tell them to go find their own band and play how they want, but this is how I do things in my band, and if you don't like it, feel free to hit the road, otherwise shut up.
Had some idiot come up to me a couple years ago and say, "Man, I thought you were an excellent bass player until I saw you use a pick on one song." I told him that it sounds like he needs to leave. Douchebag.
And good for you for ignoring the advice to "be the bass player." Can't tell you how irritating and disappointing it is to hear something like that come from other bass players. When I get someone telling me I can't play a certain way, I always tell them to go find their own band and play how they want, but this is how I do things in my band, and if you don't like it, feel free to hit the road, otherwise shut up.
Had some idiot come up to me a couple years ago and say, "Man, I thought you were an excellent bass player until I saw you use a pick on one song." I told him that it sounds like he needs to leave. Douchebag.
I'm making legitimate chords. When I play just notes or a line, even when I take a solo, it only bends when I do a chord. I mostly do center my thumb, just not when I do a chord in the lowest 5 frets, then it slides back
Ok I will try that. No not any specific chords, any that Aren't in the 12-20th fret range, say a want to play a simple a major. Higher up on the neck i hardly bend my wrist at all, if I start on the fifth fret on e, it bends pretty bad.
Yea thanks man. I feel the same way, there's is no "only way to play bass" it's got more than one string so why shouldn't i use them. People try to discourage all the time, I think because they can't do what we do, but we could easily hold down a line as good as they can. As for picks, good for you, if you like it, own it!
I've never used one but that's because they limit me to one style, I like to mix slap with finger style and strumming and tapping. A lot of bass players think a bass shouldn't strum, but I love that sound. I use it to fill more sonic space and add attack to chords. And yes I'm. Technique guy, I wouldn't doubt that my obsessing over "doing it right" has gotten me off track before, but it's how I practice my rudimentary skills that Allows me to improve.I apologize for being critical, but it is obvious to the naked eye that your hand is tense and unrelaxed. I can see tendons bulging and fingers in unnatural positions. The tip of your thumb is turning white! I will upload some pictures later when I get home to my bass.
Yeah when I get down into the low ranges this happens when I don't the think about it. Luckily when I do solos, I will notice it because it's almost like dragging behind, when i know I can go faster but I just can't seem to. I hardly ever do that, I can post a better picture later but I've got to clear out the gutters outside. Theirs a rainstorm here in northern Michigan and waters building up, I'll be back in a little whileI apologize for being critical, but it is obvious to the naked eye that your hand is tense and unrelaxed. I can see tendons bulging and fingers in unnatural positions. The tip of your thumb is turning white! I will upload some pictures later when I get home to my bass.
And I don't think that's overly critical at all, If I didn't want advice I wouldn't be here, no worried mushie
Yeah when I get down into the low ranges this happens when I don't the think about it. Luckily when I do solos, I will notice it because it's almost like dragging behind, when i know I can go faster but I just can't seem to. I hardly ever do that, I can post a better picture later but I've got to clear out the gutters outside. Theirs a rainstorm here in northern Michigan and waters building up, I'll be back in a little while
And I don't think that's overly critical at all, If I didn't want advice I wouldn't be here, no worried mushie
My post was addressed at another poster who was giving you questionable advice, and I'm sorry if you interpreted it as being critical of you.
I don't think anything short of "don't play like that, it's stupid!" Is un welcome or critical. That however, I hate. We all play different, let's just accept that.My post was addressed at another poster who was giving you questionable advice, and I'm sorry if you interpreted it as being critical of you.
Chords are a strange beast on bass, both because of this 'muddiness' we talk about and the fingering itself.
I've been composing for a dark funk/jazz power duo for a while — and they've been my best friend in filling that same "sonic space" you speak of. Here are some things I've learned in arranging tunes I had intended for multiple instruments down to one:
1. I'll echo the take-home point everyone seems to be making: if it hurts, change it up. I have a cello performance PhD pal who has some extreme problems with his shoulders. He kept going to physical therapists who would say "stop playing." Finally found a sports therapist who said "let's find different ways to play." And it works. He's still a killer player.
2. Inversions are your friend! If you are playing some repeated chordal pattern, you could leave out a voice the first time through and swap out one of the ones you did play for the one you didn't. It adds some variation (which is always good, I hear) as well as opens up some new possibilities for voicings. Say you are doing a ii7 V7 I7 in C:
D-F-C,
D-F-B,
C-E-B
then
C-F-A,
B-D-G,
C-E-G
Or something. I dunno. That's a contrived example, but hopefully I make my point. You can get people's ears filling in stuff that isn't there if you help them along. And they are typically easier to play 'cuz you're leaving out a note.
3. Don't hate on power chords. They get a bad rap because they are easy to play and widely applicable, but they can be pretty gnarly when put in the right circumstances. Also: their inverted cousin, the perfect fourth, can be pretty gnarly on bass, too. A bassline with a harmony jumping between 5ths, 4ths, and tritones can fill a ton of space without needing any extra voicing.
4. Muddiness can be tamed by careful articulation — I've been writing a piece with an augmented G chord played 3-2-1-3. It is GROSS when strummed with the meat of my thumb, but really great when given a bit of arpeggiation and a bit more pluck. I'm sure strings also have a lot to do with muddiness in chording, but I'm no string expert. I love my flats, don't miss my rounds, and don't feel like spending the money to experiment.
5. One more echo: if it hurts, change it up.
I've been composing for a dark funk/jazz power duo for a while — and they've been my best friend in filling that same "sonic space" you speak of. Here are some things I've learned in arranging tunes I had intended for multiple instruments down to one:
1. I'll echo the take-home point everyone seems to be making: if it hurts, change it up. I have a cello performance PhD pal who has some extreme problems with his shoulders. He kept going to physical therapists who would say "stop playing." Finally found a sports therapist who said "let's find different ways to play." And it works. He's still a killer player.
2. Inversions are your friend! If you are playing some repeated chordal pattern, you could leave out a voice the first time through and swap out one of the ones you did play for the one you didn't. It adds some variation (which is always good, I hear) as well as opens up some new possibilities for voicings. Say you are doing a ii7 V7 I7 in C:
D-F-C,
D-F-B,
C-E-B
then
C-F-A,
B-D-G,
C-E-G
Or something. I dunno. That's a contrived example, but hopefully I make my point. You can get people's ears filling in stuff that isn't there if you help them along. And they are typically easier to play 'cuz you're leaving out a note.
3. Don't hate on power chords. They get a bad rap because they are easy to play and widely applicable, but they can be pretty gnarly when put in the right circumstances. Also: their inverted cousin, the perfect fourth, can be pretty gnarly on bass, too. A bassline with a harmony jumping between 5ths, 4ths, and tritones can fill a ton of space without needing any extra voicing.
4. Muddiness can be tamed by careful articulation — I've been writing a piece with an augmented G chord played 3-2-1-3. It is GROSS when strummed with the meat of my thumb, but really great when given a bit of arpeggiation and a bit more pluck. I'm sure strings also have a lot to do with muddiness in chording, but I'm no string expert. I love my flats, don't miss my rounds, and don't feel like spending the money to experiment.
5. One more echo: if it hurts, change it up.
I think he means "chord FORMS"
Arpeggiated chords.
Not necessarily chords the way a guitarist would play.
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Yeah!I do it too!I don't think there's a way around it.Open chord forms require that kind of wrist angle.It's next to impossible to do it with a closed fingering.
Yeah I've just felt with it. Can't do anything about it, in the higher ranges it's not a problem, it only bends a tiny bit. In the lower 10 frets or so it's bent quite a lot. I can't help it though, it's never hurt so I've just let it happen, better than trying forever to avoid it to no avail. Btw, that's a wack-ass bass you got. Warwick?
Many haven't.They were made from 2004-2008.
They're pretty rare now.
Although they can still be found.Dean Sledgehammer Ash 5 String
I searched for five years..Bought one for $350.00 on Reverb!
It's practically new!Bright and punchy!
Anyway.Back to subject:Chords.
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