Slap Bass Timing Exercises – Bass Practice Diary – 8th September 2020
If you’ve been following my recent series of videos about timing exercises, then you’ll know how these work by now. You take an odd number note grouping and play those groupings as continuous 16th notes. What I didn’t mention on any of my previous videos, was that these exercises are a great way to practice slap bass. This video feature three slap bass timing exercises. And you can take this concept and develop your own exercises.
The first exercise is 16th notes played in three note groupings. The three note grouping consists of a note, G, thumped with the right hand thumb (T). A tap on the strings with the left hand, marked L.H on the notation. And finally a pull with the index finger of the right hand, which I’ve played as a dead note by muting the strings with my left hand.
The second of the three note sequence, the left hand tap, can be very soft. You don’t need to hit the strings hard, you just need to do it in time. Hitting the strings with the left hand has the effect of silencing the first note. So, even if you don’t here the tap, you will still feel the rhythm by hearing the note G go silent.
The second exercise is an extension of that idea. This time the three note grouping is made by thumb (right hand), hammer (left hand) and pluck (right hand index). And the notes are taken from a C minor pentatonic scale.
The final exercise features a five note grouping. The five notes are as follows. Thump the G and then tap with the left hand, exactly as in exercise 1. Then thump with the right hand thumb again, but this time as a dead note muted by the left hand. That’s three, the final two notes are F and G. Pluck the F on the D string and hammer onto the G on the fifth fret with your left hand.
A Bass Players Guide to Matching Bass Amp Heads and Cabinets – Bass Practice Diary – 25th August 2020
This week is something a bit different. I should start by saying that I’m not an electrician or audio engineer. I’m just a bass player, and this is the first time I’ve done a Bass Practice Diary video that doesn’t feature any bass playing. It’s also the first time that I’ve ever had all of my bass amp heads and speaker cabinets together in the same room. I’ve done it so I can share with you what I’ve learned about matching bass amp heads and speaker cabinets.
Combo Amplifier or Amp Head and Cabinet?
I believe that having a separate head and cab has numerous benefits over using a combo amplifier. Combo amps are only practical when they’re small. I own a couple of bass combo amplifiers, but I didn’t feature them in this video. I use them for rehearsals and small gigs because they’re small and they save space. However their use is limited. Once you get up to a medium sized bass rig, combo amplifiers become heavy and impractical.
Having a separate head and cab (or cabs) gives you many more options. Lightweight solid state bass amp heads like the Markbass heads and the Warwick LWA 1000 are small and very light, and easy to transport. And you can match your head up with different sized cabinets or combinations of two cabinets to match the requirements of your gig. Bass amp heads also give you the potential to access much more power (Wattage) than combos.
However, “with great power comes great responsibility”, and there are a couple of things that you need to know if you’re going to safely unlock the potential of using a bass amp head with speaker cabinets.
Ohms and Watts
Those things are Ohms (Ω) and Watts (W). It’s simple stuff, but back when I was trying to work all this stuff out, it always amazed me how hard it was to find this information put together for bass players in a simple to follow guide. I’m not an electrician and I have no qualifications in audio engineering, but this is my simple guide to Ohms and Watts for bass players.
All you need to know about Ohms, is that bass speaker cabinets are rated at either 4 Ohms or 8 Ohms. You need to know whether your cabinet is rated at 4 or 8 Ohms before you use it. If you run two speaker cabinets together (in parallel), then the Ohm rating halves, not doubles. So, two 8 Ohm speakers running in parallel makes a total of 4 Ohms. Virtually all bass amp heads are designed to run at a minimum of 4 Ohms. So you shouldn’t run two 4 Ohm speakers together. That would be 2 Ohms, which would be below the minimum level that the amp is designed to run at. You should also never switch your amp head on without a cabinet connected, because that would be zero Ohms.
RMS stands for Root Mean Squared. The RMS power rating (Watts) is two things. It’s the amount of continuous power that your amplifier is capable of putting out. And it’s also the amount of continuous power that a speaker cabinet is capable of handling. Before you use a speaker, you need to know how many Ohms it’s rated at and the RMS power rating. I’ve heard that some amp companies exaggerate the power handling capabilities of their speakers. They give the maximum Wattage that a speaker can handle, rather than the Root Mean Squared. RMS is the amount of continuous power it can handle. You need to make sure you know the RMS value for the Wattage.
How are Ohms and Watts Connected?
The number of Ohms your speaker is rated for will effect the RMS power that your amp head puts out. When amp manufacturers give the power ratings of their amps, they always give the RMS rating at 4 Ohms. However, if you read the technical specs for any amp head, it should give two RMS ratings. One for 4 Ohms and one for 8 Ohms. For example, the Warwick LWA 1000 is so called because it has the potential to run at 1000W RMS at 4 Ohms. At 8 Ohms it’s only 500W RMS.
So, in order to unlock the full power of your amp head, you need to run it either into a 4 Ohm speaker or into two 8 Ohm speakers. However, it’s not necessarily a bad thing to connect your amp head to just one 8 Ohm speaker. In fact, that’s what I do most often when I take my amps out for rehearsals or gigs. The problem with running very high powered amps at 4 Ohms is finding speaker cabinets that have high enough RMS ratings. To safely match a 1000W bass head at 4 Ohms you’ll need a really big rig. Either two 8 Ohm cabinets rated at at least 500W RMS each, or a massive 4 Ohm cabinet, like an 8×10 with a rating of at least 1000W RMS.
Can You Match a Higher Powered Amp with a Lower Powered Speaker?
Surprisingly, yes you can. Some people will tell you, that if you have a bass amp head rated at 800W RMS for 4 Ohms and a 4 Ohm speaker rated at 500W, then the head is too powerful for the cab. It seems logical that an 800W amp is too powerful for a 500W cab. But it’s actually fine, as long as you don’t push the speaker really hard. If you play through the amp well below full volume, it should be fine. The speaker will let you know if you’re pushing it too hard, because it will start to sound bad.
Alternately, you might assume that playing an amp rated at 300W RMS into a cab rated at 600W RMS would be ok. No chance of damaging the speaker with a lower powered amp head. While that is true, you might well drive the amp head too hard by playing it through such a big speaker, so I wouldn’t recommend that as a good match either.
Connecting Two Cabs to a Single Speaker Output
Many modern solid state bass heads have just one speaker output. This really confused me when I first came across a head like that. Because historically bass amp heads had always had two outputs, so that you can run two speakers in parallel. I’d always been told not to daisy chain speakers from a single output. Because it would result in a very high resistance (Ohms) and leave your amp running very underpowered.
I new that these amps could run with two speakers but there was virtually no information about how to do it. Not in the amp manuals or in the speaker manuals or online. I’ve learned that it does work to run these type of amps by daisy chaining two speakers, but I still don’t understand why. The cabs appear to be running in series (one cab into another) but they seem to work in parallel (signal gets to both cabs simultaneously). If anyone can explain to me why that works, I’d be really interested to hear. You can send me a message on my contact page.
Timing Exercise on Bass Guitar #2 – 16th Notes in Five Note Groupings – Bass Practice Diary – 18th August 2020
This week’s timing exercise features five note groupings, played as 16th notes. Last week I featured a similar exercise with three note phrases. You can make exercises like this by using any odd number grouping, and then playing those groupings as continuous 16th notes in 4/4.
Odd Number Rhythmic Groupings
The larger the grouping, the more rhythmic possibilities it creates. For example, five note groupings can be counted as 1, 2, 3, 4, 5 (Da-Di-Gi-Na-Dum). Or you could count 3+2 (Ta-Ki-Ta, Ta-Ka) or 2+3 (Ta-Ka, Ta-Ki-Ta). However, a seven note grouping would give more options, 4+3, 3+4, 2+3+2, 5+2 etc.
The idea of playing odd number rhythmic groups, is that it creates a continuously moving polyrhythmic feel against the four beats in a bar of 4/4 and the four 16th note subdivisions in each beat. The idea of these exercises, is that they systematically go through every possible rhythmic placement of a five note grouping of 16th notes in a bar of 4/4, before arriving back on beat one at the beginning of the sixth bar.
Three Variations of The Exercise
In the first exercise, I’m playing five note arpeggios in the key of C major.
As you can see, I play the tonic, C on beat one of bar 6. If you can hit that note on the downbeat, then you know you’ve played the exercise correctly.
The second variation of this exercise is a variation of the first exercise. This time, I’m playing the five notes as three and then two.
The third variation also uses the three and two idea. However, this time I’m using an ascending G major scale.
Timing Exercise on Bass Guitar – 16th Notes in Groups of 3 – Bass Practice Diary – 11th August 2020
The concept of this timing exercise is very simple. You take any sequence of three notes, and play the sequence as continuous 16th notes in 4/4. So, you subdivide the beats into four, but you play a pattern of three, which creates a simple polyrhythm. Each time you play the sequence, it will start on a different 16th note. After three bars, you will have played all of the different permutations of where that sequence can start in a bar of 4/4. So, if you play the sequence correctly for three bars, the sequence should begin again on beat one of bar 4.
The Exercise and Variations
This would be a simple version of the exercise. It’s a “one finger per fret” exercise, but each note is played three times.
I would more commonly play the exercise using triads, as I have here.
You could also apply the same idea to practicing scales. Here is a C major scale played in three note groupings. First ascending and then descending.
Slap Bass 10 Minute Workout – Bass Practice Diary – 4th August 2020
This is the third 10 minute bass practice workout that I’ve released, but the first to feature slap bass techniques. There are a lot of videos on YouTube of bass players teaching and demonstrating slap techniques. They’re often fast and flashy and they almost always involve using lots of open strings. There’s nothing wrong with that, because those things are fun to play. But, in this video I’ve tried to zero in on what I think are the fundamental techniques that bass players should practice, so that they can use slap bass techniques in “real world” music situations.
What are the fundamentals of slap bass?
If you follow my Bass Practice Diary videos, then you probably know that slap bass is not my “main thing” on bass. The vast majority of what I do is played finger style, but I like to keep my slap bass chops ready for when they’re needed. This line, that I’ve written is typical of the kind of exercise that I’ll set for myself when I’m practicing slap bass.
I’ll start by asking myself the question, what do I need to be able to do in order to execute slap bass lines quickly and accurately when they’re put in front of me on a gig? Then I’ll come up with a line, like this one, that I feel tests me on the fundamental techniques that I need. So, I haven’t included any advanced techniques like double thumbing or machine gun triplets. Those are great techniques for playing slap bass solos, but I’m more interested in the fundamentals that I need to make my slap bass lines sound good.
For me, the fundamental techniques of slap bass are the thump with your thumb, the pull with your index finger, the hammer ons and pull offs with your left hand for playing legato lines and dead notes. When I’m practicing these fundamentals, I’m concentrating on trying to get my timing as well as my tone and dynamics even. So all the notes can be heard and nothing is coming out too loud.
Bass players often use compression on their slap bass lines to even out the dynamics. It’s ok to do that, but I would strongly recommend that you don’t use compression when you practice. You need to learn to control the dynamics with your hands. Using compression will subconsciously teach you that you don’t need to control the dynamics because the compression does it for you.
The 10 Minute Slap Bass Workout
If you’ve done one of my workouts before, you’ll know the format by now. I divide the 10 minutes up into four exercises, each practiced for 2 minutes (roughly). And then the last 2 minutes is for putting all four exercises together into one line. Each exercise is practiced at four different tempos, roughly 30 seconds at each tempo. The first tempo should be very slow to help get used to the notes in each new exercise. And the last tempo for each exercise should be pushing you to the edge of your comfort zone.
The last tempo should be challenging but not impossible. It’s a mistake to try and go too fast. You need to push yourself in the last 30 seconds but I think it’s a much bigger mistake to go too fast than too slow. I’ve set the tempos in this video at tempos that work for me, 40bpm, 55bpm, 70bpm and 85bpm. If those tempos don’t work for you, then do the workout in your own time at your own tempos. You only need a metronome or a drum beat, which you can find for free online.
The line is based around a jazz III-VI-II-V in the key of E major. The line itself uses hardly any open strings. I’ve done this deliberately, because it’s harder to play slap bass without using open strings. Typically, when I’ve been asked to play slap bass on gigs, I’m very rarely required to play in keys like E and A where I can use lots of open strings. It’s more often in keys like F and Bb because those are popular keys for keyboard players and horn players.
My line is in the key of E. However, I’ve chosen the chords G#m7 – G7 – F#m7 – F7. Therefore, there isn’t much opportunity to use the open strings on the root notes. However, once you’ve learned the line, you can resolve it onto an E chord, which is fun because you can then bring in the open E string. Here’s the line.
The first exercise goes like this.
I’m practicing it as a 3-beat repeating cycle. The chords at this point go from G#m7 to G7. I’ve included one dead note, which I’m playing by striking the string with my right-hand thumb while muting with my left hand. I haven’t included many dead notes, because I feel like I probably over use them when I improvise a slap bass part. I also put dead notes in instinctively on rest strokes. You can hear me doing it in the video. So feel free to improvise dead notes on any of the rests. You can play dead notes with your right hand and left hand, I usually use a combination of both.
After the dead note, there’s a hammer on from the 2nd to 4th fret on the A-string. In this exercise, I’m working on getting an even sound between the notes that I’m thumping, which are the notes on the A and E-strings. And the notes that I’m plucking on the G and D-strings.
The second exercise is this.
This is a bass fill played using a combination of hammer ons and pull offs with the left hand. While the right hand is using both index finger and thumb. It starts by plucking the 6th fret on the first string and pulling off to the 4th fret. Then the right-hand thumb plays the open string second string and the left hand hammers on the 5th fret. Then I use my thumb again to play the 2nd fret on the A-string and I hammer on to the 4th fret. Watch out for the rest on beat 1, and the goal is to make it sound like one smooth line.
Exercise 3 goes like this.
Each note in this exercise is articulated using either the thumb or index finger on the right hand, with no written dead notes or legato phrasing. You can improvise dead notes on the rests. It’s a 3-beat cycle, like exercise 1. I could play exercise 3 as a 2-beat cycle, but it flows better with the quarter note rest on the end.
This is the fourth and final exercise.
Another rest on beat 1. More combinations of thumping and plucking, hammer ons and pull offs. Good Luck!
Improvisation Strategies on 6-String Bass – Part 2: Naima on Fretless Bass- Bass Practice Diary – 14th July 2020
Naima by John Coltrane has a beautiful but challenging chord progression. Last week, I featured a video demonstrating how I play the chords. But the story isn’t complete without looking at how to improvise over those chords. So, this week I’m demonstrating an improvisation strategy for playing over the part that I find hardest to improvise on.
Modal Chord Progression
Most improvisers think of Naima as being a modal composition. Meaning that they think of each chord as representing the sound of a scale or mode. This is different to the diatonic approach that I looked at in my Improvisation Strategies: Part 1 video. In that video I looked at a I-VI-II-V sequence of chords where each chord represented a different degree in the key of Bb major.
When you hear improvisers analysing how to play Naima, usually you’ll hear them say something like, ” play this scale or mode on that chord, and this scale or mode on that chord etc”. And it’s not wrong to think about the progression as a sequence of modes. If you listen to Coltane playing Naima, you can definitely hear that he is playing complete modes quite often.
However, when I’m coming up with an improvisation strategy, I prefer to think in a more economical way. I want to start with something small that I can expand upon. I want to zero in on the notes that I feel best spell out the sound of the harmony. Remember that you can come up with multiple strategies for playing on the same progression. So when you zero in on just a few notes, you’re not limiting yourself, you’re actually creating the potential for much more variation. Because if you start by using all of the notes from the implied scale or mode, then it doesn’t leave as much scope for expanding and using different harmonic ideas.
Naima Improvisation Strategy
Last week I wrote about how I think of all of the chords as being major 7th chord voicings over a pedalled bass note. I won’t repeat myself, so if you’re interested in the chords check out last week’s post.
This four bar section of the harmony comes from the second half of the B section. The chord symbols that I’ve written are different from the Real Book changes, (even when you allow for the change of key). But I think that my changes reflect the harmony that Coltrane was using fairly closely. I wouldn’t recommend getting bogged down in what the chord symbols are. When I was working out how to play this piece, I wasn’t thinking about chord symbols, I was just trying to recreate the sounds that I was hearing and I put the chord symbols on afterwards. So, here is my improvisation strategy for this short four-bar sequence, I’ve picked out five notes to use on each chord.
Improvisation Strategies on 6-String Bass – Part 1: I VI II V – Bass Practice Diary – 14th July 2020
I often get asked questions about how to improvise. I’ve noticed that people are usually looking for a simple answer, like “you just need to know the right scale.” However, if you’re reading this, you probably already know that it isn’t that simple. To become a fluent improviser, you should work on lots of different improvisation strategies. As part of my own practice, I regularly try to find new and different ways to play through chord progressions that I’ve played on many times. To help demonstrate what I do, I’m presenting one improvisation strategy that I’ve come up with on a I-VI-II-V chord progression.
Before we get into the specifics of this particular strategy, I should say that my end goal is the same for any improvisation strategy. That goal is to be able to improvise all over the fretboard. So, when I practice a strategy, I’ll practice it in multiple positions until I can connect up the notes all over the entire fretboard.
In this particular strategy, I’m looking at jazz improvisation on a I VI II V progression in Bb major. Although I would recommend practicing any strategy in multiple keys. The chords in the key of Bb major are Bb – G7 – Cm7 – F7. Notice that Chord VI is played as a dominant chord rather than a minor 7th chord. This is so that it leads nicely to the II chord. It is a very common chord substitution in jazz (and other styles).
A very simple approach to improvising on a I VI II V progression would be to just play a Bb major or major pentatonic scale. The problem with that as a strategy, is that it ignores the B natural in the G7 chord. So most jazz musicians will prefer to play something different for every chord. This is often referred to as “spelling out the harmony”. So what I’ve done is chosen four different notes for each chord. Each set of four notes is specific and unique to each chord.
Why Play Four Notes for Each Chord?
Normally when a I VI II V is played in the context of a jazz standard, the entire progression is played over two bars. Meaning that each chord lasts for just two beats. With just two beats on each chord, four notes provide more than enough options to fill up the space. If you’re strategy was to use an entire scale, even a pentatonic scale, it would be more notes than you need. It would make improvising on the progression harder than it needs to be.
In choosing the four notes for this strategy, I used arpeggios. You don’t have to use arpeggios, you can use any four notes that you like the sound of. But I think that arpeggios are fundamental to the sound to jazz improvisation, so that’s why I’m using them. I could have simply used a Bb major arpeggio for the Bb major chord and a G7 arpeggio for the G7 chord etc. That would certainly have spelled out the harmony, but it would also probably have sounded a bit predictable. Instead, I opted to play a Dm7 arpeggio on the Bb major chord. The notes of the Dm7 arpeggio played over a Bb major chord create the sound of a Bb major 9 arpeggio without the root note.
By making this substitution, I was thinking of the progression as III-VI-II-V, Dm7 – G7 – Cm7 – F7. This actually simplifies things a lot because it leaves me with two minor 7 chords and two dominant 7 chords. I can use the same strategy for both minor 7 chords and the same strategy for both dominant 7 chords. So I used minor 7 arpeggios on chords III and II and on chords VI and V, I used diminished 7 arpeggios starting on the third of each chord. Bo7 on the G7 chord and Ao7 on the F7 chord. (o in this case means diminished).
Putting the Strategy Into Practice
The best way to put any improvisation strategy into practice is with a backing track. You can find free I VI II V backing tracks on the internet. It’s always a good idea to start slowly, and you can start by just playing the notes you’ve prepared over the chords as an exercise. As you get comfortable doing that you can start to improvise lines that connect up the chords by adding passing notes. Here are three examples that I’ve written out to demonstrate.
The passing notes could be chromatic notes or scale tones. Or to put it another way, they could be literally any note that helps to connect the lines. If you use the four note patterns that you’ve prepared as the structure for your lines, then adding passing notes here and there, won’t interfere with the musical sense of the lines.
There are so many ways that you can vary this one simple idea. You can (and should) practice it in multiple positions on the neck. Here is another position to get you started.
Then try to improvise by connecting up the different positions that you’ve practiced.
Then you could try practicing the same ideas in different keys. You could then try using the same chords, but changing the four note patterns. And finally you could try playing similar patterns on different chord progressions. When you get into practicing these kind of ideas, there really is a lot of different ways you could be doing it. And the more different strategies that you practice, the more fluent your improvising will become.
Here’s a finger style demo of my new Overwater Hollowbody Thinline fretted 6-string bass. I’ve owned the bass for a couple of weeks now and I wanted to get a demo out because a lot of people have asked for one. In the video, I’m playing only through the bridge pickup and the low end and the mids are slightly boosted and the treble slightly dipped. This is a tremendously versatile instrument, and this demo only really demonstrates one aspect of its personality. So I will be recording more demos in order to show off its full range of characteristics.
Changes in Rhythm (based on Rhythm Changes) by Johnny Cox
I’m currently writing compositions specifically to be played on this bass. And “Changes in Rhythm” is the first one that I’ve completed. The piece is based on the jazz chord progression known as Rhythm Changes. Rhythm Changes is probably the second most popular jazz chord progression (after the 12-bar blues) and it’s almost always played with a medium fast or fast swing feel. My idea was to take the Rhythm Changes progression but completely change the feel to a slowish 16th note Latin feel. Hence the title “Changes in Rhythm”.
I wanted to record this with a percussionist as a duo. Similar to the concept of Jaco Pastorius and Don Alias playing Donna Lee. But unfortunately the lockdown put an end to those ideas. Hopefully I will record this tune again in the future as part of a duo.
My New Overwater Hollowbody 6-string Bass Guitar – Bass Practice Diary – 23rd June 2020
This week I received my custom made Overwater Hollowbody 6-string bass guitar. It’s taken just over a year to build. And this bass is currently unique. It’s the first fretted 6-string hollowbody that Overwater has made and the first with a 34″ scale length. I’ve only owned this bass for a few days, but my early impressions are very positive. It’s relatively light for a 6-string bass, but the low end it gives you is huge. And it has one of the best low B-strings of any bass I’ve played.
Chris May and Overwater Basses
Bass players outside the UK might not be familiar yet with Overwater basses. The company was founded in 1979 and is run by it’s founder Chris May. Many British professional bass players play Overwaters including Scott Devine of Scott’s Bass Lessons. Chris has featured in videos on Scott’s Bass Lessons and he has earned his reputation as one of the best bass builders in the business.
Over the last few years I’ve spoken to several companies about making me a lightweight 6-string. As you know, I’ve always played Warwick 6-string basses. They’re great, but they’re heavy. And it’s not always practical to take out a heavy 6-string bass. Especially when I know I’m going to be playing long sets. So, I’ve often found myself taking out lighter 4 or 5 string basses when I’d prefer to play 6.
I first spoke to Warwick about making me something lighter. Their position was, that if you make a bass too light, it won’t sound like a Warwick. Which is a very fair point, but it lead me to the conclusion that I needed to look elsewhere in order to find what I was looking for. So, I started by talking to UK based bass manufacturers like Status, Sei and Overwater. All of them make great instruments that I would be happy to play.
The reason that I opted for Overwater was down to Chris May. Out of all the companies that I spoke to. It’s not easy to build a good light 6-string bass. And I felt that all of the other companies I spoke to were slightly cautious about taking on the challenge. But Chris was exceptional in his enthusiasm and expertise and in taking a personal interest in what I needed.
My Overwater Hollowbody 6-string bass
The bass has a Walnut top and a Swamp Ash body. It has a 3-piece maple neck and the neck joint is glued. The fretboard is Indian Rosewood. It’s a thinline body. I’ve played a fretless version of this model with a much thicker body shape and a 35″ scale. It sounded awesome but it was heavy!
Overwater have their own pickups and they match the wood on the pickup covers to the bass. They also do their own 3-band active eq with matching wood covers on the control knobs. The onboard preamp also includes a balanced XLR output, which effectively makes the bass itself an active DI box. With the two outputs you can route the jack output to your amp and send the balanced XLR output to the front of house.
I’ll do a proper demo of this bass in the next few weeks. The playing in this video was literally the first time I’d played this bass. And I was playing with all the EQ’s on the bass and amp set flat. I’ll be able to give a much better demonstration of what this bass is capable of when I’ve played her for a few weeks.
Learn G Major On the Entire Fretboard – 10 Minute Bass Practice Workout – Bass Practice Diary – 16th June 2020
This is the second 10 minute bass practice workout that I’ve posted. This one is specifically designed to help you learn your fretboard up and down by learning the key of G major in every position. These workouts are an example of the kind of practice workout that I often give to my students. The idea is, that if you use your time efficiently, like this, then you can achieve a lot more than you might think in 10 minutes.
The idea is that you practice each line for 2 minutes (roughly) and then the final 2 minutes is for playing the entire example all together. Each line contains all of the notes in the key of G major in a particular area of the fretboard. For example, the first line covers all of the notes between the open strings and the 4th fret. The second line covers the 5th fret to the 9th fret, and so it goes on up the fretboard until, at the end, I’ve played every possible note in the key of G major on my 20 fret fretboard in every possible position .
Each 2 minute section of the workout is divided into four tempos, with approximately 30 seconds spent on each tempo. I like to start at a very comfortable (meaning slow) tempo. And then work up to a tempo that challenges me. In this workout, I haven’t pushed the tempo up as high as I did previously. The reason is because my main goal here is to learn the notes and positions for G major. Speed is not necessary to achieve that. However I have still increased the tempo because there’s no harm in pushing my technique at the same time as learning my fretboard.
Learning Your Bass Fretboard
Learning the notes of every key all over your fretboard is huge. It will make a massive difference to your playing. It probably makes most sense to start with C major, but it doesn’t really matter which order you learn the keys in. You can think of this as learning modes as well as keys. When you’re learning the key go G major, you’re also learning A dorian, B phrygian, C lydian, D mixolydian, E aeolian and F# locrian. It helps if you can practice playing the notes against some kind of harmony, which is why I recorded some diatonic chords in the key of G major to go along with the workout.