In a way, yes…
But, how to you turn that acquired knowledge into something applicable on the bass? That is often where people stumble.
And, I think, that is what @antonio was suggesting was missing (perhaps not all in the same diagrammatic illustration…)
If you, for instance, want to arpeggiate your way through a chord progression, many fingerings will work, but some will undoubtedly be more efficient and economic than others - to be able to identify these, it helps if you have learned different fingerings (aka the forms that @gio described further above).
Hi @howard and @joergkutter,
I agree with both of you, so I changed it into “fret A, fret B …”.
My point is exactly what Jörg wrote, how do you connect the dots, so to speak, between finding something on the fretboard, fingerings and note names.
A triad or an arpeggio would be another “bigger” shape. And since there are several ways to construct these, you should, imho, break them down into their parts.
The Talkingbass video may be very prescriptive, however, it shows you a way to connect the box shape in one position to the scale on a single string, for example.
Yes, definitely true. I guess at this point I kind of use an adaptive fingering based on what I am doing, but really I learned it all using @Gio’s Bird Form.
With @Gio’s pdf I kinda didn’t get how the fingering is supposed to go. And that probably means I’m still a beginner (which I am), not a badass! I should add that to any post…
Yes, there is still some implicit knowledge presupposed there
Apologies for any confusion - this is the paper I hand my students before we start going into each part in depth and detail.
…It’s missing some of that depth and detail here.
My biggest takeaway here would be that everyone makes sense of scales a different way. It may take 5 different methods or 50 before everything connects.
I know it did for me.
Drone notes/chords for scale practice and improvisation is why I own an EHX SuperEgo+ pedal