Currently on my first pass through the course, at module 8. I have taken a pause here in order to practice string crossing. I am currently practicing by repeatedly playing the root-third-fifth and octave sequence for every fret on the board. My question is this. I play a five string tuned in BEADG. My understanding is that basses are tuned symmetrically. But if that is the case, why are the scale shapes for a five string in BEADG different from the shapes used on a five string in EADGC? Should they not be the same? I am about to switch to playing full scales for every fret instead of the root-third-fifth-octave, and I am confused as to why the shapes are different.
Edit: Even more confused now, as it appears only the major scale shapes are different, the minors are the same. Wut?
All the shapes should be the same; only moved over by one string.
Maybe you have screenshots of the shapes that confuse you that you could share? This would probably make it easier to understand what exactly is causing the confusion
Ah, OK! There are variations of the shapes… Both are starting on a C as the root and the one for BEADG is trying to avoid open strings (here the E), which is why the E is played on the 5th fret of the B string.
The shape you find for the EADGC is the “classic” shape for major scales, but the other one is a good one to know (and learn) as well
Oh, I see. I’m a moron. It’s the same notes just on a different fret and a different string. Duh. Ok, so then the question is why the bother for needing alternate scale shaping in order to avoid the open strings. You would think they would be easier to pluck since you don’t have to fret anything. Thanks for the explanation!
It’s both a matter of having options and about whether you want to play the open string or not (i.e., it’s a conscious decision by you).
You could, for instance, prefer the timbre of the open string to the fretted version. Or, as you say, it could make your “life” easier, e.g., when shifting hand position (an open string gives you a break and time to adjust your hand position, if necessary).
On the other hand, open strings might be a bit harder to control (muting, note length control, …), or you might feel you get a better flow when your fretting hand is always fretting something - then you’d avoid open strings.
Personally, I have a tendency to avoid them as part of a motif (or scale), but like them when I can let them ring
I play lots of jazz walking bass lines that use plenty of open string notes, a la Jamerson, et al.
Learning and incorporating open strings in first position lines makes playing those lines much easier, of course, assuming that a player has become familiar with choking and muting open strings. With those techniques in hand (quite literally), lines can be played more fluidly compared to having to constantly fret a string to sound each note.
Yeah I prefer to use them too. They have a very different timbre that I like a lot and which adds nice easy and free expression to a song, and work well with pedaling lines.
I have also found myself playing scales up and down the strings more than the boxes over the years for these types of bass lines, so good to know the single-string scales too. Bonus is they are easy, and Em, Am and Dm are especially convenient keys for other instruments.
