You can use either in truth. Over a static chord a lot of people will go for Dorian as it sounds brighter and is more standard in terms of soloing vocab but you can use either in truth.

For sure! Ergonomics and limiting travel is hugely important 🙌

@@OnlineBassGuitar1 There is a fairly famous teacher named Provost who had a student who was a MD hand specialist. The hand specialist claimed that it is not possible for the finger to change directions over such short distance without fatiguing rather quickly, i.e. no long fast scales. The finger needs that period of relief.

My pleasure! Glad you enjoyed it!

Thank you! I think so many bassists are in your position. I know I certainly was which is why I want to share this stuff. Thanks for commenting 🙏

🙏

As in I’ve found this so useful that I’m surprised more teachers don’t teach it sooner. And often by the time people find out about it on their own, they are so ingrained in their usual technique that they find it hard (it’s too late) for them to change. Basically, it’s too valuable not to share.

Hahaha keep watching 😂

Appreciate it! Thank you!

Good banter buys you an extra year to learn it so get cracking 😂

Thumb and fingers? Great choice. Not many people go with that option!

It's a huge shift in mentality isn't it? I find the same thing now when I play bowed upright. Particularly on more melodic or expressive patches, the flexibility in tuning is so important. Totally agree with you!

I hear you on the fretting hand thing. It's often a place where people struggle without knowing it. Out of interest, what sort of goals do you have for this area of your playing?

Like I wrote, phrasing (eg intentionally playing notes slightly off beat), legato (no breaks between notes when playing melodies but making them flow), accuracy (especially when shifting position, but also mastering barre) and more/better usage of left hand muting. In short: everything that makes music music iso just a sequence of notes. Smoke on the Water is one nice song for this: searching internet gave me 12 (!) variations for its verses. I'm busy learning the second one. I feel that finger independence is key and there's a lot of improvement possible as far as my left hand is involved. And that means practising runs. I've started simple with things like 1234 4321 (16th notes) and 123 432 (triplets), with finger 1 at fret 12. Now I'm at fret 9. Also I've begun practising the gallop (famous from Heart's Barracuda). Next step will be combining these exercises with changing strings or (still later) and changing position. That's quite a lot, so for the time being increasing speed is a low priority. At the other hand I'm confident that that will be easier after my left hand play has improved. Which brings me to another principle. Identifying the weakest aspects of your play and improving them is an initially annoying but in the end very rewarding way to become a better player.

Nice examples of what I'm thinking of are Uriah Heep's Paradise (Gary Thain, my bass hero) and Judas Priest's Beyond the Realms of Death (Ian Hill, especially during the guitar solo of the mid section). Neither sounds particularly spectacular but to get those melodies right is far from easy. I feel that this aspect of bass play deserves a lot more attention.

I think that’s a fair comment but it’s also worth mentioning (in my view at least) that just because we often study elements of playing and music in isolation - theory, technique, improvisation etc - doesn’t mean that we should assume we can only use them in isolation. I totally take your point but simply working on your technique doesn’t have to mean you’re becoming less musical as a result. Thanks for commenting!

Reps make a difference and so does really putting your technique under the microscope as you say!

I see your point for sure. What I mentioned to another person in the comments I think relates here. Yes, we do study elements of music in isolation - technique, theory, scales, groove etc - but that doesn't mean we're committed to using them with an isolationist or zero sum mentality. Personally, I always feel it's worth having better technique but that doesn't mean you have to use it. It's still possible to have great technique but not let that be the only thing to your playing. As you rightly point out, groove and timing matter a great deal. It's not an either/or choice. That's just often how we study things. Cheers for commenting!

Nothing wrong with that!

Me too. I can pick with my fingers but prefer the sound with a pick.

It's a great option!

@@OnlineBassGuitar1 One thing is that I started playing guitar and moved to bass. So picks were second nature. But totally different on bass than guitar. Didnt really have too much difficulty learning fingers with the exception of the index finger and middle finger kept trying to play in unison with my fret fingers. I actually believe it would be harder to learn bass with a pick than fingers. Its not the easiest thing to do on guitar either but most guitar is played with a pick. But I will definately say one thing. I love playing bass a helluva lot more than I ever did guitar and going on 44 years of slinging "axes". The only time people really hear me is if I screw up now.

Hahaha as long as you got what you needed 😂

Songs are the best vehicle for technique! I have a few video ideas on this coming up so you’ll have to let me know what you think. But I agree with you totally. Songs are the best way to learn!

The Trooper,The clairvoyant

Great choice!

@ The Troopers always been a little TOO fast fir me:/

Ahhh sorry to hear this didn’t hit the mark for you. Why didn’t this work for you? I’d be happy to help explain things here a little better!

Never too late. Don't be a weenie.

Relaxation is the key for sure! Once the arm and hand are both loose then so many more playing options become available! Thanks for the comment 🙏

My pleasure! Welcome to the channel 🙏

I hear you! It's totally different when working with frets!

I avoid open strings as much as possible and practicable. mostly shift more or play higher up on a five or six string. It's all just finger patterns.

So in the same way that I’d have to constantly monitor the spatula in order to balance it, bass players have to constantly monitor and adjust the tuning of each note on the fretless with their ears. Basically, just putting your fingers on the lines/in the right place isn’t enough.

@OnlineBassGuitar1 thanks buddy

@@Sonme-n7s my pleasure!

I’d always say it’s best to get the nut set up specifically for the BEAD tuning. There’s a certain amount you can get away with but it’s best to be safe. For gigs, I personally find 5-string better. I find the extended ranger more useful and in styles that mix groove playing with higher melodic lines & fills (as worship can do) I find that 5 covers all the bases.

@OnlineBassGuitar1 nice i was wondering between Yamaha TRBX 305 vs Ibanez SR305 which one is better. some people doesnt touch Ibanez untill serie SR500 and up. And i know yamaha budget instrument are awesome in that specific range of price. What would you recommend ? I also see that ibanez seems more likely to be a faster neck playing which is a positive point, while yamaha tone is awesome out of the box in that price point.

That’s the sound 🙌

Glad it was helpful! Appreciate your support!