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Rufus Reid typo, or is it me?

Discussion in 'Jazz Technique [DB]' started by lermgalieu, Nov 19, 2002.

  1. I am going through "The Evolving Bassist - Millenium Edition" and am wondering if there is a typo on page 47, Augmented Dominant Sevenths. Bassically, it gives you a key and then writes out the triad and then gives you a scale:


    C(4) E(2) G#(1) --> Bb(1) C(4) <-- Bb(4) G(1) E(2)

    C(4) --> D(1) E(4) ^-- F#(1) G#(4) ^-- Bb(1) C(4) Bb(1) --v G#(4) F#(1) --v E(4) D(1)

    (for C, D, E, F, G, A, B)

    The fingering and shifts look good (if you can read what I typed, I mean '^--' to mean a shift towards the nut and up a string and --v to mean a shift away from the nut and down a string) assuming you are starting on the A string. This works for C+7, D+7, E+7, and F+7. However, once you get to the G on the A string, either the fingering should change to replace (at least) the '4' to a '3' if he wished you to remain starting with the A string, and if you shift down to start with the G on the D string, the shifts in the exercise should be different (there would be an additional shift).

    I know I should probably just blow this off and do it the way I think, however, I am wondering if perhaps the book IS right? Are my ideas on fingering somehow 'wrong' in Rufus' universe?
  2. I have to believe someone in this forum has fingered an augmented dominant seventh before. You don't need to have Rufus Reid's book to answer my question....all the info in this exercise is contained above. As I am currently between teachers, I don't really have anyone else to ask. If anyone can offer a hint, I would be obliged.
  3. Most people using a traditional 3 finger technique would use 4 there. The problem I have is with the fingering for the descending scale. It leaves you finishing with a 1-1 shift towards the nut. 1-1 shifts towards the nut suck and should be avoided, as should 4-4 shifts in the other direction.
  4. Chris Fitzgerald

    Chris Fitzgerald Student of Life Staff Member Administrator

    Oct 19, 2000
    Louisville, KY
    I'm not sure I understand the nomenclature of your original post, but because of the nature of the double Ma3 structure at the bottom of these chords, I usually try to play them across the strings (4, 2, 1 if starting from the "A" string, getting 1/2 step closer to the nut with each crossing) and then finger the whole step at the top.

    If I'm starting from the "D" string, then I'll play the Ma3rd in the manner described above and then do the next one as a shift on the same string. Hope this helps, good luck.
  5. David,

    There is no 1-1 shift unless you mean the unstated shift back to C at the end, however this exercise is intended to flow directly into the next scale, or D, so it doesn't return to the C after the scale. I shoulda 'splained that better.


    Thanks for your input. However I am still confused about my original question. I am not a Simandl guru, but I do know the basics. I tend to use my 3rd finger in place of the 4th above the octave. Therefore, if I continue on starting this exercise on the A string, once I get to G or so on the A string, wouldn't the fourth finger get replaced with the 3rd, with shifts being the same?

    And if I move down to start on the D string, wouldn't the fingering become more like this:

    G(1) --> B(4) --^ D#(1) --> F(1) G(4) <-- F(4) D#(1) v-- B(4)

    G(4) --> A(1) B(4) ^-- C#(1) D#(4) --> F(1) G(4) F(1) <-- Eb(4) Db(1) --v B(4) A(1)

    ?? Thanks!
  6. Yeah, I was referring to the shift back to C.

    G on the A string is below the octave-- 4th finger. Sometimes I'll use 3 instead of 4 on the octave. Stick with 4 below, you'll be more intune.

    The arpeggio fingering: B(4)--D#(1), and vice versa for descending is bad. If you grab B with 4, the D# is already under 2, why shift. Descending, grab D# with 2, B is under 4. 1 and 2 would work just as well. Also, F-G is 1-4, right? So descending why not just go 4-1-2-4-1? Two shifts.

    That scale fingering is fine, but I'd also have a fingering beginning with G(1), and G(o) played entirely on the G string. I'm assuming with that fingering above you're getting A and B on the D string.
  7. Oops sorry - I was fingering that on my fretless since my DB is packed up to go to rehearsal, or I woulda written out that arpeggio better. I didn't mean to use the 3 on the G on the A string, but to use it elsewhere in the scale fingering where it goes up above the octave (in the original fingering that is). Thanks for the tips!

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