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Some of you may find these a little simplistic, but FWIW:
One exercise that works great and can be a real bear is to simply
work on your scales and arpeggios with fingerings other than the
ones you use on a regular basis.
For instance:
Playing a major 6th arpeggio, I usually play:
G----------------------------------------------------------
| 1 | | | 4 | |
D----------------------------------------------------------
| 1 | | | 4 | |
A----------------------------------------------------------
| | 2 | | | |
E----------------------------------------------------------
Now try it this way:
1
G----------------------------------------------------------
1 | | 3 | | | |
D----------------------------------------------------------
| | 3 | | | |
A----------------------------------------------------------
| | | 4 | | |
E----------------------------------------------------------
This one is a lot harder for me since I almost never use it. I
now practice it regularly so that I can be as comfortable with this
fingering as with others I use.
Work out fingerings for scales and arpeggios so that you can start with
*any* finger of your left hand (or right if you're a southpaw) and not
have to shift position unless you run out of strings to go across.
Just working out the possible fingerings will help a lot in understanding
the fretboard.
Another exercise that is good for strength is playing patterns where
you index finger is anchored throughout, I find this is quite painful
and well worth spending time on!
An example:
G----------------------------------------------------------
| 1 | | | 4 | |
D----------------------------------------------------------
| | | | 4 | |
A----------------------------------------------------------
| | | | | |
E----------------------------------------------------------
Assuming your fourth finger is on the fifth fret of the A string,
play this type of pattern over and over *without* moving your first
finger I find this a lot harder than it looks, particularly at elevated
tempi):
D E D G D E D
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| Sometimes I play riffs or scales from the radio or a practice tape,
but mostly I just stretch and press my ring and little finger against
the wheel. Muscle against Muscle aka isometric exercise. I has
seemed to help me quite a bit, but maybe most people have stronger
fingers than I do.
When I was first learning to play an upright string bass and my
first fretless, I was taught the part of the trick to playing in
tune was the spacing between your figures as you slide up and down
& across the neck. I marked the steering wheel with small strips
of adhesive tape (ie. fret markers) to easily check my reach and
spacing.
I have a book somewhere on 'off the instrument' exercises, I'll
see if I can find it.
BTW Never had an accident. :-)
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| I'll try and refrain from any references to playing a fretless Front
Fender!
I teach bass guitar, partly as an escape from the "day job", and
mostly the guys who come along are really serious about learning,
and prepared to practice.
The book I have found easy to use is the Mel Bay Modern Bass Guitar
Method, books 1 and 2, which are published by a US publisher, but
freely available in the UK also. While these books start from a
very elementary level, their method is quite logical and takes you
to a reasonable standard, from which how well you progress depends
on yourself, the amount you're prepared to practice, and listen
to other good players.
To be a competent player, you need to be able to do each of the
following, so that you can take on work in all forms....
Be able to play a sensible bass line which isn't just tonic and
fifth. ie C G C G C G, to a variety of tunes in your chosen idiom,
whether that is Jazz, Rock, Folk etc etc
Be able to read a Chord Plan, including all the usual pieces of
musical shorthand -- First time bars, dal segno al coda, etc
Be able to read Staff notation on its own, including the shorthand.
When you're playing with other intruments, remember that the bass
player is the foundation of the chord, and should be there, but
not too prominent. THe ability to be a good ensemble player is not
too common among musicians at all levels, and if you can learn to
be a supporter of the front line instruments, accompanying them
and no more, you'll have acquired a very useful skill.
If this info is helpful, and you want some more, add another query.
Suggested listening -- Joni Mitchell -- her husband plays bass with
her band, and is excellent. Similarly Barbara Dixon's bass player.
I don't recommend too much Level 42 or Stanley Clarke, because not
too many bands want that kind of bass playing, however talented!
CHeers,
Henry
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