"The Beast" and MILLPAD

brik1970 · January 22, 2024, 4:57am

Warning: another long post from me today (brain dump )

So, about a year ago I discovered @JoshFossgreen’s “other” YouTube channel (started pre-BassBuzz) and watched and learned via a number of them (note to self: revisit channel and explore more!).

One video (well, 2 actually) in particular had me interested as I thought it would be a great way to achieve “fret board freedom” (I’m still struggling with this, btw) which was an exercise he called “The Beast”, which if I recall correctly, he got the idea from Billy Sheehan. Josh made 2 videos on it:

and

I’ve been struggling with this on and off since then (also purchased both of his ebooks, which I thought might help for this exercise. Its not that the video or ebooks or even the exercise are bad by any means, they are quite good (as are other videos on this channel - but they lack the polish and presentation he’s developed since then). Its simply that I’ve never been able to get my head and fingers completely around it (I get the concept but the execution has continued to elude me).

“The Beast” is fairly straight forward, in concept. If you are well versed in note locations on the fret board, this will probably not be a difficult exercise for you.

You simply start playing all the notes of a Key starting from absolutely lowest note available on your bass and play a vertical sequence using exactly 3 notes per string before moving to the next one. When you reach the bottom (G string), you move your pinky over to the next available pinky starting note and play through the exercise in reverse (again, only 3 notes per string before moving up to the next). When you reach the top (B or E string) you shift your index finger to the next available starting note and play down again. On and on, all the way up the fret board.

My personal struggles are: I don’t (in an instant) know where all the notes are on the fret board (I’m working on this) and additionally I get confused running through the sequences as I keep forgetting where I am. The tablature for this exercise in his ebook are not a great help (for me), as its a lot of information to process and keep track of, I keep losing my place or forgetting where I am.

I’ve got a fresh look and thought process on this, spurred by a recent video I came across a clinic by Anthony Wellington (Bassology) called Modes for 4, 5, 6, 7 string bass guitars.

It is definitely worth watching, but it is an hour long video! He presents things in a very methodical step-by-step “chunk” basis, which is a good (but long) way to present new information to a listener.

I’m going to present a TL:DR version of this video and then relate that information to “The Beast” exercise.

I’m going to skip over some of his discussion, because at this point you can reference numerous resources on this stuff, and I’m going to assume we at BassBuzz have some understanding of these concepts by now (if not, don’t be afraid to ask!).

Alright, so in terms of scales, there are 7 “greek”, “classic” or church modes. These modes are derived from the tonal center of each note in a given scale. Lets break these down in order of their note sequence really quickly for review. Examples will use the Key of C (no sharps or flats), but this same pattern applies to any key signature.

Another way to view the above chart is with a staggered appearance, like this:

Now, if we look at the above information on a fret board and extend our string count to seven, it will look like this:

From this information we can derive 3 main patterns (I’ll get to why its been presented on a 7 string later)

“WS - WS” pattern (example: B string frets 8, 10 and 12 - use index finger, ring finger and pinky for fingering pattern)
12_4 pattern (B string frets: 5, 7 and 8 - following fingering as pattern is named)
1_34 pattern (B string frets: 3, 5 and 7 - again following fingering as pattern is named)

The rules:

WS - WS can be repeated up to 3 times in a row.
12_4 can be repeated 2 times.
2a) When moving from WS-WS pattern to 12_4 pattern you will shift your index finger 1 fret to the right. The WS-WS is a 5 fret fingering, and 12_4 is a 1 finger per fret fingering (4 fret).
2_34 can be repeated 2 times then return to rule 1.

(TO BE CONTINUED)

brik1970 · January 22, 2024, 5:19am

(Continuing)
Alright, so if we look at the 3 patterns (WS-WS, 12_4 and 1_34) we can see that these 3 patterns will apply when starting from the open string of each string of the bass (if using an imaginary finger for the open string). Further, another pattern that emerges is that each string is turned to 1 note of the C Major (Ionian) scale. If we assign each open string note to one of the modes (see chart above), we’ll get this sequence (starting on the B string): (Lo)crian, (P)hrygian, (A)eolean, (D)orian, (M)ixolydian, (I)onian and (Ly)dian.

Now, if we reorganize the modes into this arrangement: M I Ly Lo P A D (MILLPAD) we see a pattern emerge on the B string on the 8th fret (the G) that directly follows the rules as given above while playing from the B string to the F string. The pattern looks like this:

Again, once you reach the end of the MILLPAD sequence, you start right back over and continue, no matter where you are on the fret board (to put this more specifically, if we start on G on the B string, and end on the F (ascending), our next note is a G - which in example above would be on the Bb string, which is not shown above (to continue pattern vertically - or if its easier, imagine the B string in the diagram is actually a Bb string and visualize it that way by shifting the notes 1 fret higher), or the 14th fret on the F string, which starts our pattern over again, this time moving horizontally up the bass, not explained in this discussion, but I think given the information already provided it can be worked out with a little thought).

Ok, now here’s the fun part (and how it relates to “The Beast”) in other words, a practical application. You can start the MILLPAD sequence from any on the scale and simply loop it (forwards or backwards) from there. I suggest getting comfortable with the ascending sequence before trying to work it in reverse.

Here’s an example: fret 1 of the E string, is an F. F is Lydian starting point (first L in MILLPAD) - so we have a Ly Lo P A pattern (ie: WS-WS (shift index finger!), 12_4, 12_4, 1_34). This ends our sequence on with our pinky on a “C” which means our next note is D. Find the D on the G string with your pinky, then drop one octave with your index finger (5th fret on A string) and continue the sequence: D M I (or 1_34, WS-WS and WS-WS patterns) and so forth. This should give you a sense of the ascending patterns your fingers should be following.

Now, here’s where things get tricky. To follow “The Beast” formula (3 notes per string, when ending on G string you move pinky to next available note and descend from there. When you reach your lowest string (E or B) shift index finger to next available note and ascend from there.

Alright, so for a 4 string bass, to apply this theory into practice we have to do some jumping around in the MILLPAD sequence and dropping out parts of it (on a 5 string, it works out a bit easier because of the 2 octave distance available vertically). At any rate, here we go!

On a four string bass (using MILLPAD logic): “The Beast” would go like this:

Ascending from E open string:

E string: frets 0, 1 and 3 (P pattern or 12_4 second time) - notes E F G
A string: frets 0, 2 and 3 (A pattern or 1_34 first time) - notes A B C
D string: frets 0, 2 and 3 (D pattern or 1_34 second time) - notes D E F
G string: frets: 0, 2 and 4 (M pattern or WS-WS first time) - notes: G A B

Now descending from G string, starting with pinky and working patterns in reverse)
G string: frets 5, 4 and 2 (A pattern or 1_34 first time) - notes C B A
D string: frets 5, 3 and 2 (P pattern or 12_4 second time) - notes: G F E
A string: frets 5, 3 and 2 (Lo pattern or 12_4 first time) - notes: D C B
E string: frets 5, 3 and 1 (Ly pattern or WS-WS third time) - notes: A G F

We’re now on the 1st fret of the E string, we move up one note, which is a G (3rd fret)
We get
E string = M pattern (starting on 3rd fret, WS-WS first time)
A string = I pattern (starting on 3rd fret, WS-WS second time)
D string = Ly pattern (starting on 3rd fret, WS-WS third time)
G string = Lo pattern (starting on 4th fret, 12_4 first time)

and so forth. I’ll leave the rest for the reader to work out as I’ve been typing for quite some time and my brain hurts! lol.

Hope this is useful to someone. I personally had a ton of “light bulb” moments when watching Anthony’s video and I’ve been doing a ton of mental exercises around it the last couple days, so the above was my distillation of what I’ve discovered through all this and how I’m finding a practical practice routine to utilize that knowledge. Feel free to ask any questions!

(Edit: after letting this sit for a day and re-reading my posts, I realize this is a bit confusing overall as I’m discussing 2 different things (“The Beast” and MILLPAD), describing the system of each and then trying to apply 1 to the other - its a bit much! So, I apologize about that, I should have discussed each topic separately, then combined them. Probably would be easier to just watch the videos and take a whack it them yourself… but again, this was kind of a brain dump on my part.)

joergkutter · January 23, 2024, 8:43am

Again, awesome that you are working this out on your own - the best way to actually “understand” what is going on and get that light bulb moment.

As you said yourself, it’s a heavy dose - and a bit like trying to explain Latin grammar to someone else in 10 minutes… and probably to someone who doesn’t really care about Latin grammar

As always, these insights can be approached at from different angles and one other way is to think about the standard one-octave shapes for the modes and how you can extend them above and below (vertically), and you should see how these shapes “flow into each other”. It’s in essence exactly what you have in your figure above.

Now, how to use this in a “horizontal” way, i.e., moving higher on the fretboard (towards the bridge)? If you started from C (ionian) on the 3rd fret of the A string, you could go up on the same string to E (major 3rd from C) and play the phrygian shape from there, or go up to the G on that string (5th from C) and play the mixolydian shape from there. (Of course, you could go to other chord tones as well, but E and G are strong candidates as they are part of the C major triad).

It’s all connected in a wonderful way

jd_morton · January 23, 2024, 3:58pm

This is pretty incredible timing, because now that I’m 1/4th through the BB lessons, I’m feeling like there needs to be some “side work” done on additional areas:

Understanding the fretboard in terms of scale exercises (as your post covers)
Understanding root chord progressions and how/where to shift when needed in a song
Ear training to find notes
Understanding how to read music, not tabs

I’m aware that each of these are “complimentary” skillsets that all require disciplined practice over time. I’m also aware that much of this is about to start being covered in the modules I’m about to start (Module 5 and beyond). I’m just curious if I should invest time (and $) into something that supplements @JoshFossgreen 's material. There’s definitely some good quality teachers that offer lessons that are more “fretboard mastery” oriented, and my brain keeps thinking I should spend a couple hundred extra to get such a course and do BB and (other course) as a complementary approach. So…

Is that just me trying to run before I learn to walk (i.e., - should I just do BB and THEN decide if I want to move to something else?) OR…
if I should consider something complementary, what do folks recommend?

Gio · January 23, 2024, 5:28pm

Hail @jd_morton - Yes, there’s a bit of running before walking, but as adults learning things, that’s just how we kinda have to do it.
But… I would still recommend the BB full course because…

The thing I recommend - the very best thing - that hits points 2,3 & 4, and holds off on 1 until there is a practical application for it…
Is playing music with humans.
If you can find a group to play with, it will instantly give you a real-world example of all the things that you need to work with.

Fretboard fluency and patterns are only helpful, I think, when you know specifically what you’re looking for. Unless you just love patterns.
If you love patterns, go for it - there’s a lot of pattern joy to be had on the fretboard.

But without application, you end up with the ability to play heaps of scales, but have no idea how to play bass in a group, how to learn a bass line, or how to make a bass line.

Being in a band (with the basic skills covered, of course) will set the practical application goals, and then - when there’s an obvious and specific fretboard gap - you can work to fill it.

Of course, if you’re curious and explorative and just want to check out some other bass things, you can always just go for it. If you find yourself confused or doing things without knowing why… there’s always BB to come back to.

jd_morton · January 23, 2024, 5:46pm

@Gio , thank you for the detailed reply! I love these suggestions. One thing that I don’t grasp though is how to get involved with a group that would welcome me. I’m not even sure where to begin! I’ve tried something like a search on Facebook with no luck (and I’m in freakin’ Austin). It probably doesn’t helps that a) I’m a chronic introvert, so I don’t really have musician friends and b) I’m a geezer, so I’m not gonna fit into a band of under-30 thrashers What are some of the good ways to find a bunch of other garage band geezers to hang with? Should I just take my bass to a local Guitar Center/music store and look pitiful until someone offers?

Gio · January 23, 2024, 6:02pm

I love this image.
…and it might work?

This is such a good question, and something that I’m thinking of and trying to make a priority for the world of bassists as a whole, and our forum crew in particular.
Nothing concrete yet, but just know that you have struck on the ultimate treasure that I hope to one day unearth and unveil.

This thread has some really nice points from some really nice people:

But I fully hear you on the introvert side of things.
If there aren’t hospitable jam sessions or cafe get-togethers or some such that you can check out, the next best thing would be to simulate a band.
Pick a set list of songs that your ideal band would play.
Put them in order from most to least doable.
Try and learn those songs.
If you run into moments where you don’t have the facility, or there are questions about ‘why is the bassist playing this’ or any of that - those are gold!
Then you know exactly where to focus the bass energies and questions.
And the BB course is a great resource for that, as is this forum, as is any other bass education outlet.

The trick is to find an enjoyable way to prompt those specific questions that will move you forward!

howard · January 23, 2024, 7:18pm

@Gio - you rule. Just saying.

Gio · January 23, 2024, 7:49pm

awww, you sweetie, you.

brik1970 · January 24, 2024, 1:32am

Love that analogy!

Indeed it is! And big sinkholes I keep going down!

@jd_morton - @Gio said it all… listen to the Jedi (but I will add that Josh’s ebooks are a good purchase, and inexpensive - very useful after completing the B2B course.)

This is most certainly a trap I keep falling into. I don’t know specifically what I am looking for, just vague thinking on my part of wanting to learn more and do more! But, I certainly do enjoy patterns and drawing big pictures of concepts in my head. Getting it to my fingers fluently, however, is another matter entirely!

brik1970 · January 24, 2024, 4:00am

Well - here’s some more MILLPAD fun (slaying “The Beast”)

I put together a bunch of colored diagrams while my back is healing (having difficulties playing and practicing at the moment due to some pain in back and pinky - pinched something back there that will heal given some time, so this will have to do!).

MILLPAD as represented by colors per “chunk” on a fretboard diagram of a 7 string bass, from the 8th fret.

Here’s a picture of the fret board of a 5 string bass, playing the chunks horizontally towards the bridge using the colored chunks shown previously:

And now… slaying “The Beast” by applying MILLPAD chunks on a 5 String bass with 24 frets (for the Key of C). If you have a 4 string or less frets, just ignore the chunks not applicable to you. Or stop earlier if you want. It is mostly a finger exercise that can also help in learning the notes on the neck.

After you complete this ascending, then do it in reverse, starting with pinky shift towards the neck 1 fret (if we end on step 9, for example, shift pinky from C to B on G string and then go to step 8 (descending this time), and so forth).

I must admit this was kind of fun and I hope someone finds it useful. If not, it was fun making it.

(I also apologize if it is not “color-blind friendly”, but the roygbiv color scheme is easy for me personally to remember)

joergkutter · January 24, 2024, 4:07pm

Groovy, man

The most important thing is that it works for you!

If it also helps/inspires others - supercool bonus!!

Gio · January 24, 2024, 4:08pm

You’re not alone in this!
Everyone has bits of this going on for them.
My eternal goal in teaching bass is to have application. Once there is a reason to know something, a consequence for not knowing it, and a reward for having applied the bass-thing in question, all theory/technique/posture/exercises have relevance and import.

This totally reminds me of Space Balls! You’ve gone to plaid!!!

Pretty cool all the systems and ways you can visualize and put these fingerings together, eh?

jd_morton · January 24, 2024, 7:52pm

Blockquote
(but I will add that Josh’s ebooks are a good purchase, and inexpensive - very useful after completing the B2B course.)

Wait. What books are you speaking of? I wasn’t aware there was more “stuff”. Acquiring minds need to know!

howard · January 24, 2024, 9:02pm

Josh has a second YouTube channel with intermediate and advanced stuff on it, plus he has a few e-publications. He used to have a Patreon. Here’s his other channel:

His website has more info too:

brik1970 · January 25, 2024, 1:30am

@jd_morton yup, @howard beat me to the punch. The ebooks are linked from his old website somewhere. If I recall correctly, the bundle of his 2 books was under $20.

I’m happy to report, finally was feeling physically up to putting this into action, I first ran through “The Beast” up to around the 15th fret and then backwards, saying aloud each note.

Then for fun, decided to take one of the chunks and used it is an improve mental map playing against a D Dorian bass-less 2 chord vamp jam track I found on YouTube (think it used C major 7 and G minor 7 chords, or something like that).

I deliberately decided to forget about a lot of the basic progressions, and just let my fingers and ears guide me. My only internal rule was to make sure I hit the roots periodically and other than that, went completely Freeform.

This was the first true, and productive, freestyle exercise I’ve done in a while … and it was fantastically fun! I hadn’t had that much fun just letting myself go wild in a long time. I’ll have to explore this more!