STOP Wasting Time on Bass Learning Modes / Optimise Your Bass Guitar Practice!

[@neilquarrell7551]

Yep Totally agree Play what you feel.

[@khankann]

@@neilquarrell7551 thank you! ☺️

[@TheMaartian]

Superb justification for your premise. The caveat re playing vs. composing was important. Thanks for not skipping that crucial point.

[@khankann]

I do use modes! However, not as a bassist. 🤷‍♀

[@geoffstokes]

Hallelujah. Thank you, Tatiana. I have found I don't use modes.

[@khankann]

You are welcome! :)

[@Megatronpt]

Love this. Thank you! I had bought a course online and the first thing that was thrown at me were modes.. and me with no knowledge of musical theory.... it was horrible trying to understand them.. as predicted motivation went down the drain. Wish I had your video before! :)

[@khankann]

@@Megatronpt I hope you found another way to practice! ❤️

[@Megatronpt]

@@khankann Yeah.. I moved to in person theory and then BassBuzz/TalkingBass.

[@joeg2132]

I like that people unfamiliar with modes or confused by them will encounter your explanation and not feel overly pressured to learn what they are. But, I think people "bored with scales" can benefit a lot by using "modal patterns" across octaves to change up fingering and hear different patterns occurring. Sometimes you can toss in some fun stuff like soloing over "White Rabbit" alternating F# Phry, G Lyd, A Mixo, A Aeol arpeggio/scale patterns.

[@khankann]

@@joeg2132 oh, this is a point! 🤔 thank you for making it. I haven’t actually thought that people might be bored with scales. I believe that scales are so fun, and you can enrich them a lot while keeping in mind all the chromatic alterations and passing notes. I probably should make a video about working with scales.

[@jdmarino]

Totally agree. Very helpful.

[@khankann]

That's probably a feeling of relief for some bass players! :)

[@waldififil423]

mało trybiący jestem..... ale lubię jak się można pozbyć nadmiaru narzędzi ....pozdrawiam....

[@khankann]

Jeśli poczujesz, że kiedyś będziesz ich potrzebować, zawsze będą przy Tobie! :)

[@trianglerecords]

Happy New year Tatiana! Wish you only the best.

[@khankann]

Thank you very much! All the same to you! ❤

[@cactustactics]

Nice! I'm more a fan of the "major/minor with adjustments" approach for the reasons you said, but I'm glad you went over the pros and cons of both - it's all useful! I'm not sure about modes being uncommon though, I guess it depends what you listen to - but I at least see Dorian and Mixolydian popping up all the time, especially in pop or rock music. My experience starting out was learning all the straight major/minor diatonic stuff, then trying to apply it to music I liked and going "wait this isn't what they're doing at all!"

[@khankann]

@@cactustactics can you please give me examples of Dorian and maybe the other modes (except for Mixolydian) used in songs in practice? I would appreciate it!

[@cactustactics]

@@khankann I think I actually got recommended your video because I watched one about Wicked Game by Chris Isaak being in B Dorian! (It was really about why it can be hard to work out the key sometimes if you're looking at the chords from a major/minor mindset) Off the top of my head, Good Times by Chic is a famous Dorian one, Uptown Funk as well? Plastic Love is mostly in G Dorian I think, except for the sections where the natural 6th flattens and it suddenly sounds a lot darker. (You can argue that one since the chorus feels like a tonality shift to me, but thinking in terms of G Dorian and G Aeolian helps me play it) Phrygian pops up in metal a fair bit, but the last place I remember running into it is Swung From the Gutters by Tortoise. Locrian I'm not sure about though! And I wish I could remember a good Lydian example offhand because it's always nice when it shows up

[@khankann]

@ thank you so much! I’ll learn more about these pieces! ☺️🙏

[@cactustactics]

@@khankann no worries! it's hard for me to remember stuff off the top of my head so there are probably better examples - Good Times is a classic one though. I think you get a lot of Dorian in funk, maybe it's a jazz influence or something

[@khankann]

@ thank you! ☺️👍

[@bassomatic6055]

Modes are useful to the extent that you know, for example, that a G7 chord commonly uses G mixolydian. You don’t have to know that its G mixolydian, just that it's a G major with a flat 7. Likewise I can in some situations, play a lydian dominant over that G7 or even an altered or whole half diminished scale. All of these names are associated with sounds and are mainly a shortcut for communication.

[@khankann]

That's right! However, for most bassists, their significance is overestimated!

[@realbarude]

Hi Tatiana. I play bass completely "by ear". I don't know anything about theory or scales. I like your teaching method. Which videos can guide me to improve my bass playing?

[@khankann]

Thank you for your interest and for your comment! I have a couple of playlists of my videos named "Bass Theory" and "Tips and Tricks", they might be useful for you. I am also working on a systematic course for beginning bass players, but I can't say how much time it'll take... I hope to manage in a few months! Meanwhile, there are some other courses online that you could benefit from!

[@realbarude]

@khankann I'll look for your video playlists. Thank you. Happy 2025🙏

[@khankann]

@ the same to you! ❤️

[@ChrisJohnsonChannel]

Trust what you say about not meeding modes. Its like a tool in your toolbox 🧰 that is good to have but might not need it very often. Modes are talked about in bass videos many new bassplayers are curious what they are. Thank you for driving into them here. I know the major scale and the Ionian mode is just the major scale but I didnt know the other modes. Thank goodness i wont Need them Too often! 😁 great video thank you.

[@khankann]

Thank you for your comment, Chris! It's funny that we can use fancy words to say ''major" or "minor" scale and look sophisticated 😆

[@dadodjerlek9078]

t depends on what style of music is played and how much one likes to solo on the bass guitar. You explained the bass line on the song by Miles Davisa So What through Dorian D very nicely. I honestly like that a person who learns the bass guitar should go through all aspects of both practice and theory. I specifically came across D major in the song Spain by Chik Corea where F# Phrygian is used. (normally just playing the patitucci is so complicated that it doesn't need to be studied) I say again who decided on jazz and bass lines I am of the opinion that modes must be mastered ....at least when it comes to the progression 2 5 1.

[@khankann]

Thank you very much for the nice example of the Phrygian mode used! On rare occasions, we might need the modes, indeed!

[@dadodjerlek9078]

@@khankann Considering that you come from a jazz academy, I don't need to tell you that every kind of advancement requires additional work and learning. It depends on how much a person sees themselves as a goal that they need to realize in order to spend energy on improving themselves. And every kind of advancement requires both new knowledge and a new kind of practice. If a person wants to stay at a level where they don't need that knowledge, it is logical that that person has no ambition to advance. I agree with you on many things and I support your work, as you can see, I have commented on your work many times. Because you are truly one of the most charismatic educators at the moment who literally shows energetically what he does step by step.

[@khankann]

@ thank you really very much for your kindness and support! I totally agree that who wants to improve, will go forward in their studies! ❤️

[@Just_Me_TG]

Well, I do use modes all the time. When I play a ii-V-I I use dorian for the minor chord, right? I don't think about the name of the mode, you could say I just play the minor scale with a major sixth. But the point is, I know why, I know where it comes from and I understand it. And when I play a iii-VI7-ii-V-I I can choose phrygian for the first minor and dorian for the second. It does make the difference to understand it. And then, to add spice to a dominant, I can play a phrygian dominant scale. But to play it, I have to know it first.

[@khankann]

To me, you just play the same scale starting on different notes, and there is very little reason to learn all those modes with their names. However, it's good that it works for you!

[@mikegeld1280]

Are you people out of ur mind?!, ive been playing bass long time ,and knowing the modes and where i am on the fretboard is one of the most important things i ever learned, seriously fullstop, i guess everyone is different, but to really know theory and functional harmony, one must master the positions of all modes (of several different parent scales) and knowing the differences between modal and tonal ,i find it very interesting someone would suggest to forget about the modes ,it just doesn't make sense,but i guess w/e, you do you 🥴

[@khankann]

@@mikegeld1280 I believe that understanding functional harmony and going further to the different tonal alterations have little to do with modes. However, I’m happy that people and their ways in music are various!

[@fenegroni]

How odd that you published this video on modes today. 😅❤ I agree with you: if I am playing something written by someone else, all I need to do is know the key which tells me the flats, sharps and tonics. Chords and arpeggios might contain slight changes to the scale, but those are easily understood concepts when playing. What I disagree on is the fact that learning modes are a waste of time on bass: I suppose it depends to what extent one studies them. I certainly didn’t study them to insane depth, but what studying modes has done for me in the last two weeks has been a game changer. Until I understood modes, I was following the chord progressions and simply playing scale patterns up and down the fretboard. Once I understood modes, not memorised them (yet, if ever) but understood them, then I was able to start moving on the fretboard with intent: I would play a drone tone for the tonic of the scale as a backing track, and use the modes of that scale as a way to move around the fretboard creating a ‘mood’ progression through pure improvisation. This means I’m not losing sight of the tonic: the drone backing track is there pedalling away, but I am moving around the fretboard using different roots as a starting point, resolving to the key at the end. Most people would resolve in playing the major and the natural minor in such cases, and maybe that’s easier and better for composition But for the sheer pleasure of ‘noodling’ around, modes are guiding me so my noodling isn’t aimless. I have learnt all the notes on the fretboard in much less time this way, and I still use all the patterns that we are all familiar with. I simply use modes to ‘open my eyes’ to what hides beneath a scale.

[@khankann]

@@fenegroni thank you for such a thorough comment! It’s actually so very cool that you found modes useful this way! You’re probably the first one who I’ve heard about who developed this kind of understanding. Usually people come to this freedom on the fretboard just with two scale patterns and getting into the chords progressions through those scales. However, you got it slightly different, and I’m really happy that you did! That’s really great that it works for you!

[@fenegroni]

@@khankann the major difference between using modes and chords is one of taste in my opinion. If we are laxed about scales arpeggios chords triads, then really yes, we could all just play chords of major and minor scales and be done. For me the difference though is in the approach: i see chords, triads, arpeggios, as smaller, more limited scales. Great for improvising or finding the right tonality when several instruments are all playing together and in particular when guitarist and pianists just stick to chords. But if you use modes as a soloist, on any instrument including bass, and you strictly adhere to the notes of the scale: no chromatic walks, no borrowing notes, and use chords (even double stops) sparingly, one can really appreciate them. It’s very niche from a composition point of view, but from a psychological one it’s very fulfilling and makes practicing the basics very rewarding. Rather than chord progressions I simply use tone progressions: if we were both playing together two basses, then one would lead the other through a tone change, or even a pedal point (although I never tried that and have no idea if it works) If you associate a colour with a tone, you can also chromatically associate a mode to a colour and synchronise the two. Great for therapy with music.

[@khankann]

@ sounds cool as you describe it! I think, however, that even using just arpeggios for improvisation, we can include chromaticism and extended chords (all these 9, 11+, 13, etc) to make it interesting. In this case, it’s difficult to say what system is used for the improvisation.

[@fenegroni]

@ I agree. Which is why I would personally only use it as a noodling device. I don’t think I have the technical and musical ability to go beyond that. I trust your skills and knowledge 🙏🏼

[@fenegroni]

This is a good video from Dan showing how modes can help - kzbin.info/www/bejne/mJDSnaaqjsyGmNEsi=KHOXcZaBXP8lcMLO Your video though is excellent and it’s a very good way of demonstrating how these are just tools and you make such a good point about a different way of looking at modes by demystifying them too. I always like your videos because they are very practical and pragmatic and I’m definitely going to watch this again but please do watch the one from Dan as it kind of says what I was trying to say but much more effectively 😅

[@judih.8754]

Thank you Tatiana for this explanation. Also I was pleased to see that you mentioned our old friend Occam (Okkam) and his razor!

[@khankann]

I’m so glad you liked that little section about Occam! 😄 thank you!

[@tonyhennessy4271]

That was fascinating, as always; keep doing what you're doing. Oh, and as an aside, full marks for managing to bring Occam's razor into a music theory video!

[@khankann]

@@tonyhennessy4271 ah, I’m so glad you liked that little section about Occam! 😄 thank you!

[@DavidAdams-x4z]

Very useful memory chart for the various modes. Thank you.

[@khankann]

@@DavidAdams-x4z thank you for watching! 😉☺️

[@martinheath5947]

The third mode should be spelled Phrygian with a 'P' I Don't Particularly Like Modes A Lot (is how I finally learned the names in order:)

[@khankann]

Wow, I didn't know that acronym! That's cool, thank you!

[@Bassic778]

This is contrary to so many KZbin videos I've seen!!! I'm still confused and will take your advice!!!

[@khankann]

@@Bassic778 I’m pretty sure you know what you need to learn next if not modes! ☺️👍

[@SUKOCONANUNGBOND]

"Oke Very Nice Mom... She's a great musician..Thanks.." 🎸👍👍🙏🙏😎😎

[@khankann]

@@SUKOCONANUNGBOND you’re welcome! ☺️❤️

[@SUKOCONANUNGBOND]

​@@khankannOke Thanks Mom....👍👍🙏🙏🥰🥰

[@tmyiz8288]

agreed unless mode-oriented harmony is learned cadenz or tention/rerease depends on the modes

[@khankann]

@@tmyiz8288 it’s maximum mixolydian then ☺️

[@tmyiz8288]

@khankann true😌😌😌

[@bass_journey]

To be very honest, the only scales we need to actually put an effort on, are the pentatonics and 5 positions. Once you master them, you add a note here and there and you have the modes. Am I right? I am learning by myself, studied the modes out of curiosity, but once I understood how the pentatonics work it was simply a game changer.

[@khankann]

Pentatonics are great! They are not making “everything”, but they can be both a super basic and/or addition to an improvisation. I believe that scales are pretty important too, especially two (and more) octave patterns to learn the notes around the fretboard and gain fluency. However, people have various ways to get into it! ☺️

[@JLP59]

It's all based off the major scale, one way or another. .

[@khankann]

yep)

[@remco2777]

I’m sorry, but I disagree. This is bad advice. Having the modes under your fingers actually opens up the fretboard for you. As a bass player you will always be aware of where the root notes of the chords are. So being able to immediately see where all notes are in relation to that root is super helpful.

[@khankann]

I'm glad that you find modes useful! There are other ways to work out all the notes on the fretboard, for example, practising two - two and a half scales in relation to chord progressions. However, if modes work for you better, I am glad they do!

[@MaliV.Williams]

Grew Up around music, (Mom was a Singer.. Ray Charles,etc. Father Played "JAZZ" Incessantly..) so, Subconsiously, I've been doing this from the Beginning!! Started on Trumpet, ended up on Bass, (Acoustic, Electric..) I once had a Student who I told, "You should be able to Sing what you Play"!! RIGHT?? I'm Not "LEFT-Brained" If one Doesn't have EARS, What's the POINT??

[@khankann]

@@MaliV.Williams that’s good for your students that you help them develop their listening skills! ☺️👍

[@RedsWildlife]

Я согласен с тобой.

[@khankann]

Спасибо!

[@jonhillman871]

who was that dapper man in the tuxedo?

[@khankann]

Was there a man? 🤔

[@JLP59]

Most of my favorite bassplayers don't know much theory or modes. We play music, not scales or modes or theory. Not saying it's not useful..but theory in general is a way to explain what we are already playing. It would be like somebody telling Van Gogh he is using too much China blue. Ha

[@khankann]

100%!

[@WansbeckBikecam]

Completely agree Tatania. Modes are just a waste of time and very confusing and an unnecessary complication when learning any instrument.

[@AlexandarShmex]

Not at all.

[@khankann]

Thank you! However, I wouldn't say this about any instrument. Musicians might benefit from learning them on keyboards, harps, or some other instruments. 🤷‍♀

[@mikegeld1280]

Once you learn the modes (if you ever choose to) and master them,you'll completely change ur mind,seriously,knowing the modes is one of the most important things in music theory and being a professional musician,fullstop

[@khankann]

@@mikegeld1280 some people just aren't flexible enough to accept that there are different ways, and there are no reasons to go to the same result using a long and overcomplicated way! :) The full stop is this - . Just in case you didn't know!

[@mikegeld1280]

@khankann that's the thing though, because modes really aren't complicated, and once you learn them you'll realize how they make everything easier, seriously,btw ur great and so are the content you've made 👍,I've been following you for over a year,just to let you know 😏

[@frankgradus9474]

I stopped wasting time learning anything a long time ago.

[@khankann]

@frankgradus9474 I wouldn’t say this is a way to progress!

[@tmyiz8288]

オッカムの剃刀😂🎉

[@davidfox7983]

Modes are boring.. never bothered with any of that.. major and minor pentatonic.. after that i couldn't be bothered.. better learning songs.. much more fun and better for rhythm

[@khankann]

@@davidfox7983 I think, most of bass players would find playing more enjoyable with your approach! 👍

[@davidfox7983]

@khankann definitely

[@daveweed2765]

Modes? Are you talking scales. Honestly it looks like notes to me. On bassyou need to know the roots the thirds, the fourths, the fifths and the octaves. Its the same as guitar chords but you play one note at a time. Every bass player should know every note on a guitar chord and how it worrks and how to work it in one note at a time on bass. So octaves and fifths. Yeah you can play the fifth a higher octave and roots. Slides? Yeah slides are not willy nilly. Think Black Sabbath. That bass slude up and down has to hit the octave on the diminished fifth. Playing bass there is so much more that goes into it than playing a four string guitar. Most people don't actively hear you but feel you. You work on frequencies that make people feel discomfort whether they realize it or not. So you need to be precise on slides up and down. ACDCs Witches Spell is another big bass slide song. You have to hold the B for a little bit then slide down sliwly for the effect. And reallt need an active bass to do it. It sounds better on an MM single pickup. You can sort of replicatw it on a double MM Stingray. But it doesn't sound the same. Bass is not guitar. Magnets effect the strings. I like P and PJs. Stingrays I like H and HH and they all sound different. The magnets effect the sounds of much bigger strings than a guitar does. Most rock guitars the bridge pickup is full on and the neck is off. Its not the same with bass. Stingrays in HH are an exception. On PJs you usually have the P full on and the J 1/4 or at the most half. No switch. HH stingrays with the switch in the middle and adjust the preamp on the knobs. Or just use the bridge pickup. Way more goes into playing bass than guitar. You have to think about your sound and what you play. But yeah stop worrying about scales. Learn guitar chords and how to imcorporaye the roots, fourths, fifths and octaves in with them. Major and minor chords and so on. It fits. Learn music theory. Take a proper G chord on guitar. You can play around that chord on bass. You have another three notes to play around. A G Chord on guitar is fretted on the root the third and the octave with with a D, G and B. So you have three G octaves you can play with and multiple ways to get to it. Basz ain't so hard to play and it isn't about set scales. Or modes. In rock bands it is all about the guitar and drums. Then your attack on the strings to accentuate either the kick drum or snares. As for the high hat? That is just straight eights. Its a lot harder that it sounds. Who are you gonna' follow? How ate you gonna' accentuate it. Then where do you incorporate everything to add to the song. The main reason I love playing bass over guitar is that it isn't about me. Its about what is the best for the song between percusdion and rythem and even lead in the band. What sounds the best. I have quite a few basses for this reason. Different tunings and different pickup configurations and different strings from flatwounds to roundwounds. Retuning is natural but.... from half step to whole step tostandard? No one wants to hear it. Basses are cheaper than guitars. So buy more. My most expensive bass is a 2500 dollar Music Man Stingray. My most expensive guitar that I don't even play anymore is a 5500 dollar Gibson Les Paul. Most gigs that I play and have played has been with Epis, Squiers and Stirling by Music Mans. Just sayin'.

[@khankann]

@@daveweed2765 I’m glad that such an experienced player is here! It sounds like you found your way, and it works well! Thank you for your comment very much! ☺️❤️

[@daveweed2765]

@khankann I am definately a prefessional bass player or musician in general. Not a typo. Totally prefessional. I am not knowledgeable either. I just play bass a certain way. Not to bad either. But yeah. Bass is a beast and no one certain way to play it. I used to play guitar chords either power open or barre chords. When I moved to bassthen I learned what each note on different chords mean. The notes on a C open chord is different than a C Barre Chord. You have to incorporate that as a bass player. I hate guitar players that play barre chords. Now I have to compensate becase all the notes are different. But not that much though. The thirds sound weird but still works on fourths and fifths. But my thirds are lost.

[@peterback3561]

Please don’t make it more confusing by telling C-phrygian is to find on the third of G#-Major!! You know that Ab-Major is right scale! A small but very important difference for people to understand the Major/ Minorsystem.

[@khankann]

@@peterback3561 thank you for your comment!

[@KlevonOfJesup]

I agree that the key of G# is never used. I don't know a good rule, but I know that each scale degree must be a different note letter name. I also know that the 7th degree of any major scale is a half-step below the tonic. Using this logic, the 7th degree of G# major would be the equivalent of G natural, but it can't be. It must be an F of some sort, so it would have to be F##, or F double sharp. Double sharps are strictly theoretical in that they are never used in a key signature. As Victor Wooten pointed out, a key can have 0-7 sharps or 0-7 flats. Do you have any comments?

[@peterback3561]

@@KlevonOfJesup Hi, F#/Gb Major has 6 sharps and also 6 flats and even if a major scale could have 0-7 sharps or flats, to me it makes more sense to prefer Db-major with 5 flats to C#-major with 7 sharps for example. In case of G#-major scale there would be 8 sharps, or like you mentioned one note needs 2 sharps. Possible in theory, but very confusing. Basically the first 7 letters of the alphabet always should be used in any major scale. If you say C is the third note in G#-major scale, how would you name the fourth note: Db because the letter is C is already used??? Makes no sense and the whole system brakes down. B# would be the right name, but I try to avoid these kind of complicated names or notes with 2 sharps or flats.

[@KlevonOfJesup]

@@peterback3561 The fail-safe way of constructing a major scale is using intervals. Let's say we wanted the key of A# major. First, write the letter names of each scale degree. A, B, C, D, E, F, G. Starting from the left, alter the notes to conform to step, step, half-step, step, step, step, half-step. That would get you A# B#, C##, D#, E#, F##, G##. As we agreed, the piece would be notated with A#'s enharmonic equivalent, Bb, which has two flats, Bb and Eb, as having three double-sharps in the key signature is impossible. The system doesn't break down. It is what it is. Logic eliminates any double-sharp or double-flat keys. Let me be clear in saying that G# major is not a key at all. Nor is D# major, A# major, E# major, or B# major. These five would all require double sharps in the key signature. 12 chromatic notes minus the 0-7 sharps of major keys leaves five. I find music theory fascinating.

[@peterback3561]

@@KlevonOfJesup I agree with you in many things, but if you say G# major is not a key at all, then you could say the same about Cb- and Fb-major!? Another fail-safe way is: Don't mix sharps and flats in one major scale! This rule will not work in scales like melodic or harmonic minor. But as long as we stay in a major scale it is very helpful.😀

[@krystiank4213]

Modes are very important when used properly. You just pick up the root tone, scale and play along with that. No neet to complicate things to see modal scales in context od C major scale. You ve just made excuses for hundreds of bassists not to practice them. Look guys, one of the most influential basslines have beed associated on particular scale.

[@khankann]

@@krystiank4213 please give me examples of practical use of modes for bass players! I’ll appreciate it!

[@KlevonOfJesup]

@@khankann Hi! Thanks for your videos about playing the bass. I have a great affinity for music theory, and I'd like to think that there are many things that bass players can learn and practice. Primarily, music theory is a communication tool. If you told me that "Perfect Strangers" uses E Phrygian mode, I would immediately know which notes were involved. The ii V I progression in a major key tells me I can play Dorian on the ii, Mixolydian on the V, and Ionian on the I. These are not hard and fast rules that I cannot break if I am inclined, but just another tool. I am very shape-oriented, so scales are simply another way to think about playing and creating. Playing scales from root to root up and down is not music. The modes are scale patterns give us a palette of notes to use in any order and rhythm that sounds good!

[@khankann]

@ I’m really glad that you find modes useful! Most people don’t, and they need to use another way to come to the similar result. It’s really cool that there are different ways in music, and that our improvisations can vary! ☺️👍

[@TheMichaelseymour]

come to australia - i can marry you !!! i need a great bass player !!!!

[@khankann]

@@TheMichaelseymour 😂 thank you, but I don’t need to get married, I’m fine! Come to New Zealand, and we’ll jam together!

[@TheMichaelseymour]

@@khankann why not hop over to melbourne ?? ?lol ....its practically next door !

[@khankann]

@ 😄

[@gelicserin]

Still not good enough coz nobody will going to play scale in their root position so makes no sense 😂😂😂

[@khankann]

I found it as the most convenient way in practice, as I tried to explain in the video. I don't know why you think it won't work for the others :)

[@jasonbutler419]

​@@khankann The way you recomended is what finally worked for me decades ago when I was learning the modes. I don't know what he's talking about.

[@khankann]

@ oh, I’m so glad I’m not alone who gets confused with some comments 😅

[@MarcLuc-pc3by]

Disagree 😮

[@khankann]

That's good! I really love it when people have their own opinions and their own ways of going in music! 😊❤

[@daveweed2765]

Why disagree? Canned scales on the roots of guitars doesn't make much sense. Honestly playing basd you need to know every note the guitar is playing and add it into your bass lines. Bass guitars work on the roots, the thirds, the fourths, the fifths and the octaves of the guitar chords. As a guitarist and asked a bass player to go an octave up to stand out on the fifth of a power chord where would that be? On bass you need to know every note on the fretboard where the root, the third, the fourth, the fifth and every octave is. These will be your walk ups and walk downs. Your slides? You need to know your octaves. The song Black Sabbath is not just a slide up and slide down wherever. You have to hit the 16th fret on the slide up to hit the octave on that Diminished fifth to give the most feel of the sound it has to be precise. Bass works on levels of hearing but also feeling in frequencies. This is music theory. So you just think you can learn different scale modes? You can and maybe why music sucks today. Maybe why bassists are getting replaced by piped in bass insyead of played. Slides especially on Motley Crue's Shout at the Devil are precise. Just one bar if slides at the telfth fret instead of the tenth but makes a lot of difference to the song. If you play bass in a band then stop the freakin' noodling, slapping and a the other bs. You are part rythem and percussion. Play bass. If you want attention then play guitar. But play bass if you want. Keep in tune with your guitar/guitars and time with your drummer. It really simple that is your job in a band. The song is also your job and scales suck for that. And what I am saying is just simple music theoery. Your job is also groove and rythem. Attack on the strings. Not scale modes. You sure sound like you took a lot of bass lessons. Bass is a beast to be tamed. Yo can play it so many ways. Ahead or behind the beat. Accentuate the kick drums or high hat or toms with you attack on your strings. That gives the song so much more. Slides up and slide downs, walk ups and walk downs. Youare the song but no one really cares. Most won't hear you or care but they can feel what you play. Its good enough for me. Played guitar for many years. I love playing bass. Modes and scales? Don't really know. I just play notes in gutar chords in time with the drummer. Someone told me a long time ago bass was about scales. Nope. Bass is about guitar chords. Bass is about ever note on that fretboard. Again roots, thirds, fourths, fifths, and octaves.