Next step theory

[GM10]

Well I've started to get to grips with theory and I'm currently looking at relative minors EG: CMajor/A Minor etc. The circle of 5ths/4ths, key signatures and modes. Is it really worth the effort or do most people get by with just understanding chord and straight forward scale structure? Would I be right in saying that with this additional knowledge under my belt memorising patterns on the fretboard would be a thing of the past? Is this knowledge essential to solo effortlesly?

Waiting in anticipation for some inpirational responses!

[GM10]

Try a different take on that question in hope of getting a response. I'm currently stuck on my bass development. Every time I pick up the bass I play patterns I've memorised. These are usually minor and major pentatonics or licks that i've familiarised myself with. I want to go to the next stage but I'm not really clear on how to go about it. i'm looking at cycle of 4th/5 ths and other relevant theory but I can't get my head round it all . What I'm trying to say has anyone else had a similar experience and if so how did you work through it.

[Alun]

Hi Gloria. What sort of music are you playing? You may find that the amount of theory you "need" to know will depend on what you use it for, if that makes sense. Eg The theory requirements for playing in an AC/DC tribute band would be very different to playing jazz ( which is not a slur on AC/DC, just a reflection of the differing bass requirements)

The short answer to me is that learning any new information will make you a better, more informed player. It's all down to vocabulary to me - you can get through life, and express emotions, with limited vocabulary but the more words you know, the more detailed you can be in describing those emotions. Knowing theory is the same to me.

Regarding your second post, theory such as learning modes will help in expanding the possibilities but there are other things you can try to.

-Take one of your stock licks and learn it starting on every finger. Eg if the lick was ACDE, play it starting on your first finger ( E string 5th and 8th frets, 5th and 7th on A), third finger ( E string 5th fret, 3rd, 5th and 7th on A) and fourth finger ( 5th fret on E string, 3rd and 5th on A, 2nd on D). This will help expand your knowledge of the fingerboard and allow you to see new patterns as well as preventing cumbersome position shifts is you want to play the lick and the first note isn't under the finger you'd normally start on.
- Take the same lick and play it in every available place on the neck. So if we're still using ACDE, start on the 5th and 17th frets of the E string, open A string and 12th fret, 7th and 19th frets on the D string, 2nd and 14th on the G ( on the G you'll need to play the whole lick on the one string which is another good exercise to free yourself from box patterns)
-Combine the above two and play each position strating on each finger.

Make sure you know where every single note on the bass is, otherwise no amount of theory will help. You can know every scale known to man but if you don't know where "C" is, then it's not going to help.

With theory, it's important to relate it to the music you like. That way you can see WHY you're learning it. Again, it's like language - you can learn every noun and tense on paper but it only makes sense when you use it in a sentence.

Hope that helps.
Cheers,
Alun

[GM10]

Thanks Alan, took me a couple of reads but I get what your saying. Sticking to licks or arpeggios at this stage and focusing on what the note is rather than knowing the modal patterns inside out makes more sense.

You focused on finger position as well. To elaborate on finger position I'd be interested to know yours, and others, opinion on 1 finger per fret rule. Some seem to think it's essential others, possibly with small hands like mine, think it's unattural and can lead to RPI or carpel tunnel syndrome.

I also can't slap parrallel thumb style. My thumb has to be pointing toward the floor. This can effect clarity but just feels so much more natural to me. I've focused time and effort on the one finger per fret rule and parrallel slap but it still doesn't feel natural. Am I wasting my time or should I go for what seems to be known as best practice?

[Alun]

The short answer is, in my opinion, that the only good technique is the one that allows you to produce the results you want in the most effective manner.

One finger per fret has its advantages but doesn't always work for people with smaller hands, or in the lower frets. A lot of players use a 3 fret stretch eg first, second and little fingers, which is similar to double bass technique and works well. Keeping your fretting hand thumb behind the neck and pivotting on your thumb will aid in reaching the maximum number of frets in one area without shifting position.

As for slapping, as long as it's clean and you're able to only hit the string you want, then that technique us fine. You may find you need to spend more time on accuracy with this method as it's easy to clip the adjacent strings but as long as you're accurate then I don't see a problem. To work on this, try some string crossing exercises like EEAADDGG GGDDAAEE, then start skipping strings - EEDDAAGG GGAADDEE or for real testing - EEGGEEDDEEAA GGDDGGAAGGEE and so on.

Cheers,
Alun

[GM10]

Think I'm gonna have to go with first, second and little finger. I will have to adapt my playing slightly but it's the better of the two options.

I think part of the reason parrallel thumb is a problem is I don't to like to have my bass directly under my kneck, Mark King style, so having it a lower, Peter Hook style, makes the arm/hand position awkward. Will persevere with this as the sound is definatly more defined for me than thumb down.

Hooky would probably try to kick somone's head to suggest he played slap!

Thanks for the responses Alun.

Going over to Criccieth for Xmas and New year so all the best to all