Ascending Diatonic Triads up the Fingerboard, Descending Triads back down the fingerboard: Parts 1 & 2 This Lesson has 3 parts to it. Part 1 I have written out a fingering pattern for the triads found within the major modes over one octave. This exercise is basically to get the shape and sound of the sequential diatonic triads in your ears and fingers. One Octave pattern with Diatonic Triads from the Major Modes. Here is a pattern using ascending diatonic triads up one octave followed by descending diatonic triads back down the octave. C Major Modes

Part 2 For this lesson I have written out a fingering pattern for the diatonic triads found within major scale from the lowest available diatonic note on the lowest string up to the highest diatonic note on the highest string for the 4 string bass with 24 frets. You can apply this concept to the particular bass, which you are using. I will also be writing out different fingering patterns for the other commonly used basses. Although the most commonly used bass is a 4 String with 24 frets It's not unusual to see a 5 String Bass tuned B, E, A, D, G or E, A, D, G, C or a 6 string bass tuned B, E, A, D, G, C.

 

For this lesson I want you to play through the ascending diatonic triad-fingering pattern from the lowest note available within the scale on the lowest string up to the highest note available within the scale on the highest string, without stopping play descending diatonic triads back down the fingerboard. Repeat 3 times without stopping at a slow tempo like 40 bpm, once you can play through this fingering pattern with ease raise the metronome increments 5 bpm and repeat. Work your way up to a challenging tempo like 160 bpm on each beat and then move on to the next lesson. Working from a slow to fast tempo helps you develop a few different things at the same time like: • A solid technique. • Clear understanding and memorization of your fingerboard. • Your touch and feel for your instrument. The whole point of the fingering pattern covering the whole range is not to force or restrict you to playing in this particular order but to train you over time to start thinking and playing in a more logical/economical way of moving around the fingerboard. Doing these exercises will develop freedom in your playing and by applying the information in a creative way will help you master not only your knowledge of a particular scale, the fingerboard and an instinctive way of moving around your instrument but also a creative musical way of applying these scales with only your own imagination as the obstacle. Here is a fingering pattern for the triads found within the C Major Modes played over the whole range of the fingerboard starting from the lowest note available on the lowest string up to the highest note available on the highest string.

 

   Understanding Triads From The Major Modes: Part 3 Part 3 I want you to improvise using these sequential triads over a sustained chord derived from the C Major Modes. By using the concept of the fingering pattern and your knowledge and study of the scales from the major modes freely improvise all over the fingerboard. Try playing these improvisations from a slow tempo to a more challenging tempo.