Bass Emporium Newsletter

Bass Emporium Newsletter - August 2008

Bass Whisperer

The Bass Whisperer
Bass Emporium Lesson #1: Extension Fingerings

Hey everyone, this month we're trying something different for the newsletter. Instead of a gear review, I'm going to do a mini-lesson - I hope you enjoy and find it useful.

Bassists typically rely on two different fingering systems: One-Finger-Per-Fret, and the 1-2-4 "Simandl" method (named after the classical upright bass method that most players learned it from). While there are folks out there that will say one method is "better" than the other, they're missing the point. If a teacher tells you to use one method to the exclusion of the other, run away! In fact, we need to use both systems to play effectively and without strain to your fretting hand. The bass is simply too big of an instrument, and the technical demands of music are too variable to lock into a limiting mindset.

The One-Finger-Per-Fret method (OFPF) is very effective for scales, chromatic passages, and "boogie" lines like the classic 1-3-5-6-8-6-5-3 bass line, but not necessarily optimal for box shapes (1-4-5-b7-8), root-fifth and octave patterns where it creates too much tension in the hand. If you watch a bassist with fluid technique, you'll notice that they switch back and forth between these two systems to meet the demands of the music.

However, there is a third fingering system that comes in quite handy in special cases— extension fingering. By extending your reach, you can finger wider intervals, which can be useful for tricky passages, transferring classical pieces to electric bass, or eliminating excess shift noise on exposed sections of music. The warning label is: be very cautious while practicing this method. It is not recommended that you use this system for long periods of time as it can introduce strain.

The first step is to make sure you keep the thumb of your fretting hand low, if you have a "skunk stripe" on the back of the neck, make sure the thumb rests below it. This technique cannot be implemented with the rock and roll "monkey grip". To aid this, raise the neck up to avoid twisting your body in unnatural ways (save that for after the gig). You might want to consider shortening your strap length for this technique.

FIGURE 1 is a simple pattern that places whole steps between the first, third, and fourth fingers, crossing all four strings.

The key is to pivot with the thumb when switching from the third to fourth finger. Take it slow at first, and always monitor the level of tension in your hand. As I've said: this technique is not intended to become your primary mode of approaching the neck, it is for special circumstances.

FIGURE 2 is a two-octave Whole Tone scale— certainly not something you need every day, but when the call comes in for that King Crimson tribute gig, you'll be ready!

Again, we use the 1-3-4 whole step fingering from the previous example, but we move the position up the neck by a half step at each string cross. In the second octave, there is a position shift using the first finger between the C# and D# that will allow you to grab the last note of the scale easily.

FIGURE 3 is a cool fingering for a two-octave Major Scale.

It places whole steps between the first, second and third fingers in the first octave. The key to playing this is pivoting between the first, second and third fingers, then releasing the thumb and shifting it up the neck to play the fourth finger notes. Once you've mastered the mechanics, this fingering will give you a smooth, flowing two-octave scale.

FIGURE 4 is a string-crossing pattern that uses a major third interval between the first and fourth fingers.

If you place this pattern above the 12th fret, you can easily extend the reach to a Perfect Fourth. While essentially useless on a country gig, this might come in handy next time you have to play Jaco's solo on "Word Of Mouth".

More than just a cute parlor trick for fusion geek wannabes, these extension fingerings can open up many new avenues of expression on the fingerboard, at very least, they will give you something to do while you're waiting for the next season of American Idle to get started.

Ed Friedland is a renowned Bassist, Educator and Author. He has authored over 15 books and DVDs and has played with the likes of Joe Beck, Larry Coryell, Robben Ford, Paul Horn, Clay Jenkins, Mike Metheny, Bud Shank, Lew Tabackin & Michal Urbaniak to name just a few. Ed is also currently teaching at Bass Emporium in Austin, Texas. Check out the Ed Friedland website for full information about him at http://www.edfriedland.com/.