Sometimes I do, sometimes I do not. But I do not have a hard/fast rule about always/never playing open strings. Different songs and patterns call for different approaches.
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
String theory?
- Thread starter CaribooBass
- Start date
I love using open strings, and sticking to open or first positions, primarily because of Jamerson. I also like the way each key takes on its own unique physical feel. The "box" patterns sort of lead you to certain chromatic choices by virtue of being easier to fret for that shape, like a 3-4- b5-5 run in a major scale. When you switch to open positions the easier to fret chromatic notes move around, implying different choices.
The different timbre can be mitigated significantly (not entirely) with a "turn up & pluck lightly" technique.
I use it. Habit from upright playing to check intonation. On EB - muted opens are my favorite
When you from fours to fives, there's always the question of 'do I play the old four string stuff on the open strings in the same place on the five?'.
Sometimes, yes, for chunky loud three chord stuff. Otherwise, no. I don't have a rule, just sometimes it just suits me better. Boston's 'Rock & Roll Band' comes to mind, some Seeger, some Mellencamp come to mind.
Sometimes, yes, for chunky loud three chord stuff. Otherwise, no. I don't have a rule, just sometimes it just suits me better. Boston's 'Rock & Roll Band' comes to mind, some Seeger, some Mellencamp come to mind.
Playing clean, the difference can be heard. When using some overdrive or fuzz, the difference can not or hardly be heard. When gigging, don't bother, as the audience won't hear what bass you're playing, what strings are on or what amp is used, let alone the difference between open string or fretted.
If you're playing in the key of E, unless you avoid the first octave, you need that open E.
Schrödinger's bass. Play an open string and it explodes.
I only use open strings. It simplifies note choice and I can play with one hand.
In Searching for the Sound, Phil Lesh mentions this topic briefly when describing his introduction to bass via practicing scales on a guitar:
"... I borrowed a guitar from my roommate, Tom Purvis (who also gave me a very sound piece of advice: Never play an open string unless you really mean it)...."
Times when I use open strings:
1) the baseline requires it, like Hysteria by Muse
2) It allows you more time to shift when you have a open string or two in the middle of a fast passage. Like James Jamerson's outro on My Guy. The piece sounds closer to what James played. James was a tremendous upright player so using open strings in a passage came natural. Dead flat wounds and amute helped.
3) When you have flats and want to sound like an upright player esp. Ray Brown. Nuff said
4) To check intonation when playing fretless solo. Online tuning.
There is a slight timbre shift with round wound strings. I use judgement rather than a hard n fast rule.
1) the baseline requires it, like Hysteria by Muse
2) It allows you more time to shift when you have a open string or two in the middle of a fast passage. Like James Jamerson's outro on My Guy. The piece sounds closer to what James played. James was a tremendous upright player so using open strings in a passage came natural. Dead flat wounds and amute helped.
3) When you have flats and want to sound like an upright player esp. Ray Brown. Nuff said
4) To check intonation when playing fretless solo. Online tuning.
There is a slight timbre shift with round wound strings. I use judgement rather than a hard n fast rule.
I recently learned Portrait of Tracy, and harmonics are open strings in a way. I do use harmonics in my original compositions, as well as open strings. So Yes for me.
Half Position, or open position is the first position you learn. They teach that for a reason.
The folks who claim Jaco never used open strings except for open E.. I doubt have ever learned any Jaco music, as he uses open strings plenty. Blackbird for example uses open A. So that shoots down that BS tale.
To not use open strings, is the dumbest thing I have ever heard in regard to technique.
The folks who claim Jaco never used open strings except for open E.. I doubt have ever learned any Jaco music, as he uses open strings plenty. Blackbird for example uses open A. So that shoots down that BS tale.
To not use open strings, is the dumbest thing I have ever heard in regard to technique.
I’m sorry, this is just silly. Use your ears and play what sounds best when it sounds best. I use open strings more liberally on DB, but only out of necessity. On EB they sound different than the same note fretted (and a fretted note sounds different played on different strings), and are appropriate when they sound best. There’s no mystery to it. And certainly no rule.
I've been imagining using a rubber band to go around the neck, right up against the nut on the fingerboard, and underneath the strings, to better match the open string to the closed notes on a fretless. Not unlike the felt on a Chapman Stick, actually. Anyone ever heard of something similar?
