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Major Scale Improvisation Exercise #1 (L#77)

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In this bass soloing lesson I’m going to show you an exercise that’s not only going to radically improve your soloing facility on the bass, but it’s also going to improve your phrasing and overall musicianship too!

It’s one of the best exercises I ever give to my personal students so I know you’re going to get some great tips within this tutorial that you’ll be able to implement within your playing straight away!

Now grab your bass… and get in the shed!

Don’t miss out Lesson 2



Want the tab and notation for this lesson?

Major Scale Improvisation Exercise #1 (L#77) - Video Transcript

Hey, how’re you doing? Scott here from Scott’s Bass Lessons again. Hope
you’re well. If you haven’t checked out Scott Bass Lessons yet make sure
you do so straight after this lesson because there’s loads of other videos
just like this and they’re all for free.

In this lesson I’m going to be talking about an exercise that I give to my
students that not only develops your soloing ability, but it also develops
your musicianship, your phrasing when you’re soloing, it really covers a
lot of the spectrums really broad.

It’s based on the major scale. Now the major scale. Now the major scale I’m
not sure if you know this, but the major scale is the most important scale
you need to learn. If fact, you don’t even need to learn it, you need to
absolutely ingrain it in your playing so you can play the damn thing in
your sleep. And not only in one position; you need to play in multiple
positions.

Why is it so important? Because pretty much 95%, if not more, of music that
you listen to is made from either the major scale or the different scales
contained within the major scale, and the chords that go along with them.

When I say you need to learn in different positions, what I’m talking about
is I’m sure many of you know this position. It just starts on the second
finger; that’s the C major scale. But what we need to do is we need to be
able to see that major scale over the entire fingerboard, and there’s a
trick to this. And the trick is to learn it in multiple fingering
positions, which I’m going to talk about in a minute. But the reason why I
want you to do this is because when I look at my fingerboard and I think
about a C major chord or a C major scale, I don’t just think  . . . or . .
.  When I think about a C major scale I see the entire scale over the
finger board, which sounds and looks something like this. I can see it over
the entire finger board.

And how I’ve done this is I learn each scale from three different
positions. Now remember we talked about the major scale, and because we’re
playing bass, or guitar, you might be a guitar player watching this, the
great thing about our instrument is once you’ve learned one position, the C
major scale for instance, it looks like that. If we want to play a G major
scale we just get that same position; the fingering stays exactly the same.
It’s always two, four, one, two, four, one, three, four. On a piano or a
sax it changes, so they have to think about the actual notes when they’re
playing. We can just think of patterns when we play.

Now I’m not saying that I’m not thinking about notes when I’m playing, but
I definitely think that when you’re learning the bass you really need to
start visualising the patterns on the finger board because it’s really
going to get you to the next level with your playing, giving you the
ability to see the actual scales and chords on the finger board.

So I’m going to show you these three positions first of all, and then I’m
going to show you, and this is the most important thing, how to make music
out of them. This is the hardest thing with scales, and it shouldn’t be.
I’m here to give you the exercise and say look, this is how you do it; it’s
as easy as this. A lot of people sit and they do scales and they see it
almost as something else other than making music; it’s just some sort of
like hoops that they need to jump through to become a good bass player, and
it’s not. You need to be able to utilise that scale and make music from it
and get that into your practice time and that’s what’s going to get you to
the next level.

So let’s talk about these three positions of the C major scale, or any
major scale, but we’re going to talk about it in the key of C. So the first
position as I showed you just then, starts with the second finger, and I’m
playing a finger per fret, okay. So I’ve got my second finger on the 8th
fret. Now this finger-per-fret technique is cool; when you get down here it
can be a bit of a stretch for some people. So be aware that sometimes down
here is a little bit of a stretch.

But let’s talk about around here right now. So we’ve got C major scales
down on the second finger. And I’m just going to call out the notes to
start with; then I’ll call out the fingering that I’m using for those
scales. So it’s C, D, E, F, G, A, B, C, and the fingering is two, four,
one, two, four, one, three, four. And look how all the notes just fall
under the hand. And we can also keep going, C, and then D happens again, D,
E, and F. And that’s all within that one position there.

And we’ve got B down here. That B we can play that B because it’s one, two,
three, four, five, six, seven. It’s the major 7th within the C major scale,
we’re just taking it down an octave. So the full position there.

Now the next position I want you to learn starts on your first finger, so I
want you to put your first finger on the same C, on the E string, and I
want you to play C, D, E, all on the E string that is. Then we’re moving
down to the A string, F, G, A. And then the next string, B, and C, with the
first and second finger. Now this fingering here, I use fingers one, two,
and four, but some people use fingers one, three, and four. That just feels
weird to me, but you know, each to their own. Check out what you want to do
or what feels good for you; experiment and then make a decision and decide
on that and get into your playing. Don’t sort of swap between the two,
because it’ll just sound messy. So that position, one, two, four, one, two,
four, one, two . . . and then on the C here, and then we’ve got – see how
that position is down there on the second finger position, we’ve got it
here. So the full first position fingering for C major is, so there we’ve
got two fingerings already.

The second fingering position is starting on the second finger. The first
finger position starting on the first finger; and then the little finger
position, which is the last position, starts on the little finger, believe
it or not. So we’ve got the C on the E string, same C. Then we move down to
the next string and we play D, E, F, and I’m using fingers one, three, and
four. Then we move to the next string and we play G with the first finger,
A with the little finger because now I’m moving across. I’m gong in this
direction, so C, D, E, F, G, A with the little finger, then with the first
finger B, on the G string, and then C. And we can even play the D as well,
because that’s written in the C major scale. And we can play the B as well,
because B is in the major scale, and we can play A as well, because that’s
in the C major scale. So again just to recap. Second finger position. First
finger position. Little finger position.

Once you’ve memorised these positions I want you to try going up one, down
the other. Up one, down the other. And it just kind of cements the
positions within your hand and more importantly your view of the fret board
as well. When you’re playing these positions try and see the patterns on
the finger board, actually see them. Okay?

So I’m going to go down on the second one; I’ll call it out as I do it.
Down second finger position, into first position fingering, then up second
again, then down the little finger position, and up the second, up the
little finger.

So there as I’m going back and forward between these positions I’m
constantly trying to visualise the position I’m going into; it’s all about
the visualisation of that pattern, being able to see the pattern as I’m
moving into it.

So if I’m playing within the second finger position, and I’m moving this
way, I’m trying to visualise that first finger position as I’m moving into
it. If I was playing a melody in the second finger position again, and I’m
moving this way, I’m trying to visualise that fourth finger position. I’m
always trying to visualise. Second finger position, first finger position,
little finger position, second finger position; I’m always trying to
visualise the pattern that I’m within and the pattern either side of it.
It’s really key to being able to see the harmony over the entire fret
board.

But, how do we actually make music out of this? And this is the cool bit;
this is the really cool bit. What I want you to do is, I’ve got a backing
track; if you’re watching this on YouTube hit the link below this video.
It’ll take you to another page and then you can download the zip file which
has this backing track in straight under the video. So hit that link after
this video or now, and then watch the rest later.

Or if you’re watching this on my website, it’s right there underneath this
video. I want you to download it; all it is is a drum beat with a C major
chord held, and I want you to spend time within each position. Don’t kind
of razz around yet, okay? Don’t do that yet.

So the first thing I want you to do is spend time learning each position.
Spend time in each position. And the reason why we want to do this is we
want our ear to recognise where the roots, the thirds, the fifths, the
sound of them within that position. We want our ear to recognise that so we
can make melodies within that position. It’s not just about running up and
down scales; it’s about making music with these scales. So spend time in
each position.

So, first of all we’ll try the second finger position, okay? Let’s listen
to the backing track. The second finger position . . .  and I’m not playing
too fast; it’s not about [makes noise], it’s about getting used to making
music within this position, what each note sounds like over that chord.
Don’t play too much, listen to it. What does that fifth sound like over the
C? And I’m listening to what I’m playing. I’m trying to almost think of the
melody before I play it. I’m just not firing into it hoping for the best;
I’m trying to hear what I’m playing.

We want to let the scale breathe. Okay? Let the scale breathe; my
handwriting is so bad. Let the scale breathe; that means don’t just run up
and down it. You want to make melodies out of it; let it breathe, play a
melody, listen to it, just go back and forth like that.

The second thing. Don’t play too much. Don’t play too much; again, play
small phrases, then listen to it, try and hear what you’re going to play
before you play it.

Now, so that was the second finger position, which was here. Now let’s try
the first finger position; first the position. Think about what you’re
playing; play long notes, short notes. Short, long, short.

Now the next position, little finger position. Just get used to that
position. Second finger, now let’s mix them up. All C major.

There you can see how I’m using this to make music, not just to play scales
up and down. The key thing is when you learn to make melodies from these
patterns that’s when you’ll start remembering the patterns. These patterns
are so hard to remember if they’re just ambiguous and there’s just nothing
linked to them, there’s no music linked to them. You’ve got to make sure
that there is music linked to every scale pattern you learn, whether it be
a major scale, a minor scale, a dominant scale. You’ve got to make sure
that there are melodies and music linked to the patterns that you’re
learning so not only you remember them, but your ear remembers them as
well. And that’s when you’ll really start ingraining this stuff in your
playing.

Something else to take into consideration, is kind of moving up and down
the fret board. Always try to be visualising the patterns before you move
into it; try and see it. Always look at the fingerboard when you’re
practising. Don’t be kind of practising, you know, with your head in the
air; make sure you look at the finger board, trying to visualise where
these patterns are is really going to make a difference. And with these
visualisation exercises, obviously if you’re looking at the fingerboard
it’s going to happen a lot faster than if you’re looking in the air, kind
of diddley dallying about. So look at the fingerboard and try and visualise
these patterns.

Hopefully you’ve enjoyed this lesson. If you have, click that like button
below and then go over to Scott’s Bass Lessons and check out the rest of my
lessons. There is a lots of them for you, and they’re all free. Don’t
forget there’s a backing track right underneath the video on my website. If
you’re watching this on YouTube hit the link below and it’ll take you to
the page. Take it easy, and get in the shed.

  • Pat

    Thanks for this awesome lesson.
    I’ve been playing bass for a year, taking up courses for 3 months with a great teacher and I’m just learning to solo on a scale.
    Your lessons are really awesome and much useful to me.

    As usual I’m looking forward to your next newsletter email :-)

    Pat

  • santiago

    Thanks for another great lesson,Scott.Your tips are a new, fresh and attractive approach to music. Greetings from Tucumán, Argentina.

  • Steve Rogers

    Scott,
    Although I am probably twice your age, I only wish I’d had a teacher like you when I was half yours! It’s never too late! I am enjoying learning and playing more than ever because of your teaching and inspiration. Thank you again!
    Steve

    • Richard

      +1 on Steve’s comment. I’m in exactly the same position, just about.

      Many thanks, Scott!

      Rich

  • Tom

    Thank You, Scott, for great cool leson! regards from Czech rep.!

  • http://rvnband.com John

    SOLID! Thanks Scott!

  • Raul Perez you admiror number #1

    this lessons of major scale improvisation is awesome it seems like some “molds” that i learned for guitar are those the same ones? because i saw it changed a little bit but not to much so the question is, does the bass has its own scales and shapes? if it does what will be the best book or resource to get those? last but not least i love the way you play chord on the bass but i have no idea where to get those from!!! and i am frustrated!!! so do you have a video where you speak only about f how to play chord??? because i have been browsing your videos and i couldn’t find anything with just chord and the one that you play i can not find a way to play it you do it to fast o maybe is because i am to slow but i can get the position :( please help!!!! before i got more crazy than already am LOL i would like to mention that i bought some of you backing tracks and are awesome but i still feel like a Dog trying to drink water out of a fire fighter hose at its maximum power can you picture that LOL great lessons God bless you more and more and more

  • Karen

    Well Done Scott!

    Thank you for this tutorial. I have a feeling I will be practicing this one for a while!

  • James winter

    Thanks scott! Another great lesson!

  • Paul

    Thanks Scott :-)

  • Dan Bertolucci

    Scott– Look forward to your presentations. Very helpful. Could you tell me where I can go to obtain/download songs by artists or genre with tabs so that I could learn bass part and play along with the recordings?

    • Myles

      songsterr.com is pretty nifty- so I’ve heard – have only looked at it fairly briefly myself – was recommended by a friend.

  • Greg

    Hey Scott, great lesson. What you may want to also mention (or maybe this is for the next lesson) is that these first, second, and little finger positions are not only next to each other but also on top of each other. Which is a great way to cover the entire neck (across) in a short period of time without having to move your hand position (thumb anchor).

    • scott

      Great idea Greg! Thanks for watching man! Scott

  • Valentine

    Good work Men….

  • Jan

    Thank you very much Scott for your latest lesson. After few minutes watching your video, I finally understood meaning of pattern connections. I’m sure it will open new doors for nice melodies.
    Regards,
    Jan from belgium

  • Terry P.

    Awesome job Scott! I agree totally with Steve Rogers’ comment.

  • http://tomlilienthal.com Tom Lilienthal

    Hey Scott, yet another great, on point bass lesson. I’ve gotten so much out of your lessons and still have only scratched the surface, given that I’ve only seen a fraction of the lessons that you are offering. Many thanks for your great tutorials! Your adding of the backing track is also a real bonus!

    All the best,
    Tom from San Miguel de Allende, Mexico

  • Cheryl Muradas

    nice….it’s all coming together, thanks to you. really enjoyed this lesson and can’t wait to “get in the shed” and practice…. thx

  • pablo

    Thank you very much for all this information!! I really aprecciatte it. Pablo

  • Arnold

    Hi Scott,

    Your lessons are the best I’ve seen online. It’s really helped my bass playing and more importantly music in general. I really enjoy your videos and look forward to learning more. Do you have any lessons on how to build or play chords on the bass?

    Cheers!
    Arnold

  • James

    Scott, this is another AWESOME video, THANKS.

  • Dave

    Hiya Scott,another great lesson!!
    Bril way of practicing the major all over the board.
    Thanks again.
    Dave

  • Joe

    Scott- Who Da Man? You Da Man!
    Thanks for making it so simple! I used to get lost on the board but this video is the map that I needed!
    All you need is someone to show you the REAL basics instead of trying to recreate the wheel on your own!
    Thanks Again!

  • Ali

    Scott, you are an angel. After several years, I finally ‘get’ scales. Phew.

  • Lee R. McStein

    Scott – as ever you’ve blown me away with another lesson!

    I’m in awe – I thought I’d understood major scale work until I saw this. Honestly, everything you do is an inspiration and I can only hope that one day I have even a facet of your skill and effortless ability!

    As a Lancashire lad (originally from Leigh), I usually find it difficult to compliment a Yorkshireman, but in your case, I’ll more than make the exception!

    Signing off with bass in hand,

    Lee

  • Fionn

    have moved on a ton and doubled the time I spend practising because I really want to get the most out of all of these excellent lessons, nice one Scott

    Fionn from San Cristobal de Las Casas, Mexico

  • Pingback: Major Scale Improvisation Exercise #1

  • Vinko

    Hi Scott,

    this is very useful eye opening lesson, things are connecting together! Thank you sir. Much appreciated!

    Thanks,

    Vinko

  • Nuno

    Hi Scott. Love yor lessons. I’m a double bass player. Please tell me if the same exercise can be used for double bass.
    Thanks.

    • scott

      Yeah Nuno definitely – although you’d have to use different fingering. Thanks for watching man! Scott ;)

  • http://www.jazzinbrighton.com Steve

    Cheers Scott. Another great lesson.
    Being able to move the ‘shapes’ around the fretboard. Is that a blessing or a curse?! You did say that we do need to think about the notes. Obviously not every one we play but the imporant ones at the time (chord tones etc.) I guess, as with a lot of different approaches to learning music, it’s a bit of everything.
    Steve.
    p.s. I’ll be making a contribution to the site later. Worth every penny.

    • scott

      Hey Steve, I tend to think of root notes and intervals… so if I was improvising over a C major chord I’d be thinking C, 3rd, 5th, 7th – not C, E, G, B. Hope that makes sense man. Thanks for watching! Scott

  • andrew

    always get some little gems from your lesson ,s learnt so much , keep on with them as i always say you can only keep what you got by giving it away.

  • alexandros ,the greek ,ha ha ha

    thnk u so much keep helping me ,another great lesson .appreciated

  • Paul

    Well, unless there is something I truly don’t understand about this lesson, the second finger position starting on the first finger, and playing whole note positions is completely impossible for me, without significant pain in my forearm….even playing the C from the 8th fret

    Either my hands are extremely small, or my bass is massive….. :-(

    • Lee K

      I have assiduously avoided using this fingering ever since I first picked up a bass because it is so physically difficult. But after watching this lesson I’ve been working on it a lot, and I’m finding it immensely helpful for (what I understand to be) the main purpose of the lesson, which is about learning to “see” the fretboard. I still can’t play this fingering with anywhere near the speed or fluidity of the other fingerings, but working on it is really helping to me fill in a big blind spot in my fretboard knowledge.

  • http://Home Ladrick

    Hey Scott! All i can say is, you are just amazing

  • Michael

    I have listened to many different people try to instruct folks about music and bass guitar. I almost gave up trying to learn at all. I found your site and now I feel like I have a chance. Thank you, you are a true teacher.

  • Eugene

    Dankie my ma se kind!!! Great lesson.

  • http://www.electech.co.uk Keitho

    Hi Scott
    Great Bass lesson. I am a mature bassist, I thought that I was on my own by playing to patterns, I have always played this way, I thought that playing this way was a bad way of playing an instrument, but i works for me.
    The down side of this way of playing is that it does make you idle with respect of remembering the notes, I need to remember to call out the notes from time to time to help me remember them
    KO

  • Alukard

    This lesson send from heaven…
    …i’d reached my personal bottom and had to get past it.
    and this lesson helps me with that!!!

    THX a lot Scott !!!

  • Cheryl Muradas

    OMGosh….I used the backing track you provided and made a song with the bass. Always thought bass kind of just held the rhythm but one can really get creative with it in and around and back on the beat..thank you thank you thank you. I am going to “load” up with your packages!!!

  • Tino

    Gracias Scott

  • Jorge Avelar Dunham

    Hi Scott,

    Many thanks for providing so many tutorials and videos to our learning.
    You are a fantastic musician who knows share your knowledge with beginners.
    I live in Brazil and am diligently watching their classes.
    At the moment I am not able to donate, I hope to do it when the situation improves.
    Anyway I feel compelled to thank you for everything you are doing for students of bass worldwide.
    God bless you.

    Jorge.

  • Ray

    Another great lesson, I need a teacher like you…

  • Nick

    Hi Scott

    Great lesson.

    With respect to covering the entire fingerboard from bottom to top using this approach, is the best approach to use fragments of the patterns to connect up the positions anchoring c at the third fret on the a string, c at the eight fret on the e string and at the thirteenth fret on the a string?

    Also, how would you recommend extending this approach into aeolian minor across the board? Use the same shapes but think of the shapes starting on the minor root e.g. Use the c major shapes but think of the root on a?

    All extremely interesting. And to echo another comment, this is the first time I have understood the willis idea of connecting up fretboard shapes!

    Thanks, nick

  • Chan Hing Cheong

    Really rhanks Scott ! Your lessons are really useful to me.

  • Chan Hing Cheong

    Thank you very much Scott.

  • Martin d

    Amazing i love this teacher,,, scott ur the man

  • Martin d

    Amazing i love this teacher,,, scott ur the man,,, i wch, all the music teachers would teach, like u

  • Toshi

    Thank you for really useful lesson for biginers. You always show us the Key of excercise. What does ” Get in the shed! ” mean, anyway?

  • Jeremy

    Brilliant! Thanks a ton!

  • Rob

    Hi Scott,

    My name is Rob and i’m from holland.
    First an excuse for my englisch because it’s not all that great.
    I hope you can understand what i’m trying to ask and explain.
    My problem is :
    I’m playing bass for a long time now but,
    I can’t read musical notes!
    Everything i play is by hear.
    So what my ears hear i can play with my hands.
    But your lessons are great !
    And playing bass and playing bass are two different things i’ve learnd for some time now.
    So i’m trying to follow the “theorie” of bass playing.
    How to play arpeggios and stuff .
    Now here is my real problem,
    I do not know how the arpeggios are build up and stuff.
    So i’m in a bad state of theorie.
    I’ve been trying to download some of the stuff from your website ,
    But those things are build up out of musical notes.
    And there is my problem again i can not read them .
    Is there an other way to learn those things?

    Thnxs for the time of reading my email.
    I hope you can help me out cause a lot of your things make sense while i’m listening to your tutorials.
    I’m going like”aaaaaahhh ok thats why i’m playing these like this.
    Cause i can hear them and i play them but in theorie i don’t even know what i’m doing.
    Again thnxs for your time.

    Greetz from Rob from holland

  • Rob Johnson

    Merry Christmas Scott and thanks for your insightfull lessons, I enjoy your approach and can relate to what you are

    Saying on the bass. Thanks for the inspiration

  • Shawn

    thanks man….. this brought so many things together for me.

  • Guy

    Awesome lesson Scott!! You are the man! Great way to use scales. Thank you.

  • Jean-Louis Bousquet

    Merci de partager , c’est très généreux de votre part.

    Jean-Louis , Québec , Canada

  • Andt

    I have been playing for about 8 years. I’m pretty good at playing anything, except jazz, but I’ve kinda been in that rut where you just get comfortable and never progress. I’ve learned scales, but never learned how to use them. Watching your videos has finally begun to open my playing and mind up to where it should be. Thank you soooooo much! Can’t wait to start on the jazz lessons!

  • Ralph Berry

    Thank you so much Scott, this is exactly what I have neeed for so long. trying to take my playing to a higher level but have be unable to afford private lessons. You are a god send! you lessons on scales in where I need to start. the onle lesson I’ve ever had taught me the second finger major scale and thats the extent of what I know. I’m sure I’ll get alot of milage from your website. Thank you again.

  • Dan

    I’m amazed, thank you!

  • Joe Lemoine

    Thanks Scott, love the lesson and also the sound track!

  • Craig

    Great Scott!! I’ve been playing for ages, and have the entire fingerboard well mapped, but never have used the second position because of the stretching involved (although I used to play double bass which is quite a similar stretch and fingering!). One thing though–I like to play in the dark and visualize the fingerboard in my mind. I find I have to make a conscious effort not to look down.
    FYI I’ve never given lessons, and have recently hatched a plan to give lessons to beginners and use the money to support the Barry Penny Foundation which gives lessons and instruments to kids who can’t afford them. Thanks for the great instruction and tool! I’ll be pointing people here and supporting your site as well.
    Cheers!
    Noticed your Salford pully. I spent some time in Manchester.

  • Herbert Brown

    Thanks so much for the lesson. This has helped to open my approach to the bass. Thanks for changing my way of thinking!

    Peace, bro.

    -Herbie

  • Sander

    Hey Scott!
    thanks for the top-notch lesson. helped me improve my soloing a lot!
    however, when I try to open the files you offered for downloading, my pc says the files are damaged, so I can’t use them :s
    is it possible that you can fix the files?

    kind regards,
    Sander from the Netherland

    • scott

      Hey Sander – it could be your browser because they’re working at my end. Maybe try downloading with firefox/chrome/safari as I know they work. Ez man, Scott ;)

  • Tayra

    Ohhh I just noticed your answer above, sorry for the repeat question! But I also have no idea what that means! I’m computer illiterate!

  • Tayra

    Ok, sorry for all the posts but I’m really trying to figure this out because I can never download anything from this site! So, I’m using an iPad and I’ve tried chrome and adobe reader and they don’t work, and I don’t think I can download Firefox. All it says is that safari can’t download this file, and chrome says it is an unknown file. Is there another app for this? Thanks to anyone who can help, I hate computers!

    • scott

      Hey Tayra… yeah – it’s because they’re zip files. You need to install an app on your ipad that lets you open zip files. There’s a few free ones so just do search on the big G. ;)

  • Tayra

    Yayyy! It finally worked! Thanks for helping…..darn ipad, needing all these silly apps just to work :)

  • serge

    scotts great lessons..thanks for ur time

  • Renato

    Thanks for the lesson! I really aprecciate your tips! You try to put your students in the next level… hugs Renato

  • Gustavo

    I have been playing double bass for several years and have taken the bass guitar, just to keep the fingers busy once in a while….after this lesson, I cannot drop it !!!
    I enjoy the improvisation so much..

    Thanks Scott

  • Hannes Weigel

    Great lesson :) It really enlightens my playing, but I wonder… Why do you wear gloves? :D

  • Meade

    great lesson!!! Thank you Scott!

  • Phil M.

    This lesson is awesome, it has transformed my playing. In two evening I can now comfortable play steadily all over the fret in major scale intervals and tunefully. I just need to fully lock it in, to become totally instinctive.

    What really made it click for me was I looked closer at your three positions and plotted them out on paper I realised that if you were able to just keep going across the fret there are three patterns that occur on each string that repeat in the same order. I don’t think you mention this, but sorry if you have. The patterns are 12 4, 12 4 (I call the “2 1s”, the root is on first 2), followed by 1 34, 1 34, (the “1 2s”, the root is on the first 4 ) finally 1 3 5, 1 3 5 , 1 3 5 (“The big 3″, the root is on the 2nd 1) then you are then back to the 2 1s again. Going up and down the fret effectively scrolls this pattern, so it just a case of quickly realising which line you are on in it. Another thing I’ve found is if you are on a 12 4 and quick slide up the fret when about to hit 1 you can switch up to 1 34. and of course do the reverse and similar with “the big 3″. Finally, switching in the root notes in on your three start positions means a key change is easy and immediate. Sorry if this makes no sense, you would have explained it much better and I will understand if you don’t post this bit, but it has certainly worked for me. When fully locked in I will work my way through the other scales to see if they each have a useful repeat pattern. Keep up the brilliant work Scott and I must get around to subscribing. And oh yes, I like your wedding photos with a difference on RBs web site.

    • bladibla12

      the tip is very good for the first position thanks Phil ! but 1 3 5 ? a 5th finger ? You probably mean the fifth fret ? pls confim

  • David P.

    Hello Scott ,I tried playing all 3 positions in different keys it’s brilliant ..helped me alot.

  • Lies

    Hi Scott

    Thanks for the great lesson!!

    Is it possible to add backingtracks for Dmajor, Emajor, Fmajor,… Otherwise I only learn the pattern for Cmajor

    Grtz,
    Lies

  • Alessio

    Scott, thanx sooo much for all the tricks you give to be a good player and to learn understanding what I am doing! Great!!! Ciao from Italy

  • Nic

    you are an ACE teacher..I paid a guy for lessons. he was a professional musician and teacher. I didn’t learn nearly as much stuff as I have since i discovered you. you make it make sense. !top!

  • Lan Fisher

    Great lessons, Scott! The website design is great for the most part, except that I keep going in circles trying to find the backing tracks. I enter my e-mail address and click “Access Now”, at which point I find myself on an unrelated page. Eventually I navigate back here again, with still no way to access the backing tracks, still being asked to enter my e-mail address. I use Google Chrome.

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