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Scales and Modes One String at a Time?

B

beaglegod

Jan 6, 2009
66
1
#1
This is part of a messege I sent to a memeber here on the forums but I figured Id get other peoples input on it as well:

On how to learn scales/modes. Ive heard it suggested to construct scales using one string and than two. By this I take it to mean that I should try constructing lets say C maj. using the E string only, later using E and A, than A only, later A and D, finally D only followed by D and G. ( Am I on the right track so far?)

Should I be just doing this with one scale at a time till that one scale I have in all string combinations, or should I learn all the scales using one string first and than gradually start working on getting all the scales using other string combinations?

Also how do I go about learning the modes, seeems like a lot of formulas to have to remember, I mean remembering major is W,W,H,W,W,W,H. seeems doable but add to that the minor scale and than 5 more modes ( not to mention 2 extra minor scales!).........seems impossible.:hiding:

Any suggestions on how this exercise is best done?
 
#2
No, I think you should learn the notes of your bass and the scales either one after the other or at the same time. Learn using either 2, 3 or 4 strings, but not one as you're very rarely going to play a whole scale ascending up one string.

The only time I show someone a scale on one string is when explaining how the intervals are what determine the scale type, eg. Major scale - if I don't have a keyboard handy.
 
#3
Jake of Bass said:
No, I think you should learn the notes of your bass and the scales either one after the other or at the same time. Learn using either 2, 3 or 4 strings, but not one as you're very rarely going to play a whole scale ascending up one string.

The only time I show someone a scale on one string is when explaining how the intervals are what determine the scale type, eg. Major scale - if I don't have a keyboard handy.
Click to expand...

Actually learning how to play a major scale on one string has a world of benefits besides learning names of notes on fingerboard, and how scales are constructed, how to create your own fingering. When creating bass lines or soloing and sudden running out of notes in your fave pattern if you have the knowledge gained from playing scale on one string you can work your way out. Also watch and listen to many great soloists and they do a lot on one or two strings. It helps in phrasing and even timbre that changing strings would alter. Learning a scale on one string is a great tool to have in your toolbox.
 
#4
beaglegod said:
This is part of a messege I sent to a memeber here on the forums but I figured Id get other peoples input on it as well:

On how to learn scales/modes. Ive heard it suggested to construct scales using one string and than two. By this I take it to mean that I should try constructing lets say C maj. using the E string only, later using E and A, than A only, later A and D, finally D only followed by D and G. ( Am I on the right track so far?)

Should I be just doing this with one scale at a time till that one scale I have in all string combinations, or should I learn all the scales using one string first and than gradually start working on getting all the scales using other string combinations?

Also how do I go about learning the modes, seeems like a lot of formulas to have to remember, I mean remembering major is W,W,H,W,W,W,H. seeems doable but add to that the minor scale and than 5 more modes ( not to mention 2 extra minor scales!).........seems impossible.:hiding:

Any suggestions on how this exercise is best done?
Click to expand...

I think it is very benefical to work your scales and modes on one string at a time because you work on differents aspects by doing so.

-First, you force yourself to find the notes by visualizing the intervals and the notes AND hearing the next note more then when you play in one position.

-Second, you are working on your position shifts like that. Make sure you don't cut the last note before shifting. Play as even as you can as far as note lenght.

What I normally do with my students is the application of 4 fingers/4 frets in one position so you shift like that according to the scale.

To do a routine you can play your C maj scale on the E string then do the same on the A string. If you have a bass with 20 frets then skip the D string and go on the G string. Then go to your cycle of fifth like that .
If you have a 24 frets bass then you can do the cycle of fifth on each string instead which is another good way of practicing it!

Hope this helps,


Sly
 
#6
DocBop said:
Actually learning how to play a major scale on one string has a world of benefits besides learning names of notes on fingerboard, and how scales are constructed, how to create your own fingering. When creating bass lines or soloing and sudden running out of notes in your fave pattern if you have the knowledge gained from playing scale on one string you can work your way out. Also watch and listen to many great soloists and they do a lot on one or two strings. It helps in phrasing and even timbre that changing strings would alter. Learning a scale on one string is a great tool to have in your toolbox.
Click to expand...

+1

Man, you just did it while I was at it LOL
 
#7
Jake of Bass said:
Yeah I guess. I was thinking more along the lines of 3 months down the track and all he's practised is the major scale on one string.

I agree with learning the scale, but you should practice it across all strings, up the neck etc. IMO.
Click to expand...

So 3 months down the track he hasn't learned a 4 fret box-pattern for a major scale and he only knows the notes? What's wrong with that?

In double bass world I practiced lots of things on one string. Shifting is a very useful skill whether you have 4, 5 or 6+ strings.

Patterns suck.
 
#8
No, you didn't read either of my posts it seems. Or just failed to understand because I didn't explain myself properly.

I was saying it would be more beneficial to learn the notes across the neck along with the scale, as this is more applicable to the music we play. How often do you play a major scale involving more than one string, than using just one string? Of course learning the notes is vital, however did you think I wasn't suggesting that?
 
#9
It's not just learning the notes, it's also a great way to learn the construction of the scale. It's a lot easier to SEE the W W H W W W H pattern on one string. The other advantage is being able to start seeing how the harmonized scale works.

Learn the G major scale on the 4th string, 3rd fret to 15th fret.

Learn the G major scale starting with the 3rd (B) on the 3rd string, 2nd fret to 2nd fret (yeah it's a mode too, but I find most modal teaching to be poorly done and ultimately not that useful).

Learn the G major scale starting with the 5 (D) on the 2nd string, open to 12th fret.

Put them all together so you're playing G/B/D, A/C/E, B/D/F#, C/E/G, D/F#/A, E/G/B, F#/A/C, G/B/D.

That's a great way to learn the intervals that make the diatonic chords, and to learn the pattern of Major, Minor, Minor, Major, Major, Minor, Minor b5 that gives us I ii iii IV V vi vib5.

jte
 
#10
When it comes to something a complex and organic as negotiating the fret board I think that creating "rules" and staying within those is always helpful.

Practicing things on one string is a very good idea.

The way I practice scales can be adapted to one string,first a quick insight into how I practice scales.

Problem;;;; Unless I'm starting and ending on the roots of my scales I have the potential problem sounding like another mode/scale.

Problem;;;;Roots are often located in the "middle" of the range I working within.


I have a simple system that deals with above problem.


When applied to one string it would look like.


C major on the G string.

C,D,E,F ascending then I'd jump back down to the open G and play it and continue up to the C one octave up.

When I descend I would go strait down to the open g then I would jump up to F and come back down to and end on C.


What I've is said that I want to get those notes below my root and get them solid and under my fingers all while maintaining the sound of C major.


Notice I didn't do the same for the notes above the high root?


Well I practice this about half as often (why because there's no money in those notes)


But you can do the same Idea just go past C grab the D and (if your playing a fender) drop down for the EFGABC.


Then just reverse everything to get back home.


Not for every one but that's the way I do it.



Aj
 
#11
Yes.....I agree that one would really benefit by learning any scale on one string to see the "snapshot" of interval spaces that make up the "personality" of the scale.

Then I teach all the modes and arpeggios all the way up "stacked" from C to C. Each mode is learned by seeing its "face" on the neck. (For instance C Ionian on the third fret A string, second finger root, then D Dorian on the 5th fret with the second finger root as well. Then the E phrygian mode on the 7th fret with the one finger as a root....and so forth)

Then we learn the modes and arpeggios in one position. Even though they are "blended" over each other, and with different fingers playing the roots, my students understand each modes distinct personality by that point.

So, a resounding yes!
 
#12
Then I teach all the modes and arpeggios all the way up "stacked" from C to C. Each mode is learned by seeing its "face" on the neck. (For instance C Ionian on the third fret A string, second finger root, then D Dorian on the 5th fret with the second finger root as well. Then the E phrygian mode on the 7th fret with the one finger as a root....and so forth)
Click to expand...

Not sure if I understand this properly.
Your saying that first its good to just learn the scales (major Im assuming) on one string. After getting familiar with that, start playing all the modes belonging to a related scale( C-Ionian, D-dorian, E-Phrygian,etc.) in order starting on the A string, which I assume would also help me memorise the pattern of each mode.

Is this correct? My head hurts.:atoz:
 

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