4 New Things I’ve Learned After Playing Bass Guitar for 17 Years
The great Michelangelo once said “I am still learning.” Without context this may seem like just another inspirational quote, but the fact that he said this at 87 years old gives me goosebumps!
It’s been a while since I’ve posted a fresh piece of content on the blog because, honestly, I’ve been practicing a lot lately! Even after 17 years of playing bass there is still so much to learn, which is both overwhelming and exhilarating.
Earlier this year I made a goal to learn more about melody, composition, technique, and music theory, and I thought I’d share what I’ve learned over the past few months.
4 New Things I’ve Learned After Playing Bass Guitar for 17 Years
The Raking Technique
Don’t sleep on this one! Instead of alternating your index and middle fingers to pluck, the raking technique allows you to use one finger instead of two to drag it all the way through to the next strings when playing descending phrases. This is an incredibly useful technique that can smooth out your basslines and help you get more mileage out of your plucking hand.
Want to see it in action? Check out this video from Dan Hawkins, and pay close attention to his right hand at the 3:33 mark.
Symmetrical Three Note Grouping Shape
This one blew my mind, and I’m honestly not even sure if “symmetrical three note grouping shape” is the official term! This three-note-per-string shape is easy: use your first finger for the first note, then skip a fret to play the next note, then skip another fret to play the third note with your fourth finger. Use this same pattern and stack the shape when moving to the next string, then do the same thing with the last string. The end result should look like this:
I feel like I can noodle around on this shape for hours because there are so many different ways you can apply it: a Mixolydian scale, a minor scale starting on the seventh degree, and so on. It’s a bit of a stretch for the left hand (and is way easier to play in the higher register of the bass) but it helps you visualize the fretboard in a new light, unlocking new possibilities for basslines and solos.
To find this shape when playing in a major key, start the sequence on the fifth scale degree. In the picture above I’m playing in the key of G, so I’m starting with my index finger on the note D (fifth fret on the A string). Give it a try!
The Major Hexatonic Scale
Simply put, a major hexatonic scale is a normal major scale minus the fourth degree. When defined this way you may be thinking, “So? How is that useful?” When playing a one octave major hexatonic scale on the bass guitar, you’re using three notes per string and only using two strings. In doing so, your fretting hand will need to shift up the fretboard – unlike a typical one octave major scale fingering. This can help you think outside the box (literally), breaking the habit of playing typical pentatonic box shapes for fills and solos. The hexatonic scale also creates a unique tonality that’s very different from its five and seven note major scale counterparts. Check out this video to see and hear how Evan Marien puts it into action.
Pentatonic Substitution
Pentatonic substitution is the practice of using notes from one pentatonic scale in place of another pentatonic scale. For example, if you’re jamming in the key of D major and are playing over a 1 chord, chances are your natural instincts will tell you to use notes from the D major pentatonic scale. This is a solid but predictable choice for your listeners. But what if you choose a different note within the key of D major, let’s say G, and play a G major pentatonic scale over the 1 chord instead? This gives you access to the chord extensions above the seventh, or the “money notes” as Damian Erskine calls them, adding unique color to your basslines and expanding your harmonic palette.
I should also mention that pentatonic substitutions often remove the focus from the root note of the chord. This might seem contradictory – after all, our job as bass players is to hold down the root and be the foundation for the rest of the band, but we can also have a little fun while doing so by using pentatonic substitutions at the right place and time. Check out this video from Worship Leader Hangout as the bassist demonstrates pentatonic substitution by playing an E flat major pentatonic run over an A flat major chord.
So there you have it! Some of these may seem like beginner-level concepts while others seem intimidating… but that’s the beauty of it, right? Whether you’re a music major, a professional musician, or a weekend warrior, we’re all on a different journey. It’s the thrill of the chase and the passion for expressing ourselves through music that keeps us going.
As always, thanks for reading. Until next time!
P.S. – Shoutout to Mark Michell at Low End University and Evan Marien for providing killer resources to challenge and educate me. Check them out!
2 Replies to “4 New Things I’ve Learned After Playing Bass Guitar for 17 Years”
The one thing I’ve learned after 55 years of playing bass is……there’s always more to learn.
Amen to that – thanks for reading, Pete!