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Jazz Bass Lessons: Electric Bass: Basic Sound Production 3: Finger Exercise with 5ths & 3rds (Spider)

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[MUSIC]
This next exercise is an exercise my
brother Tom Patitucci a great guitarist,
who studied classical guitar in college
with a man named James Birchim.
Jim Birchim a fantastic guitarist
who studied with Andrew Sagovia
and.Jose Thomas Showed my brother
this exercise called the spider.
I don't know whether he invented it or
where he got it, but
it deals with the combination
of a finger buster with fifths,
the interval of a fifth, [SOUND] two
fifths and then two minor thirds.
[SOUND] So one, three, two,
four, three, one, four, two.
So, it's kind of like,
you play up one way and
then you sorta flip your hand over
[SOUND] and play the opposite way.
One, three, two, four.
Three, one, four, two.
The thing about this is to
make sure that you can make
the notes sustaining to each other and
don't clip them.
I mean,
you can try it with different rhythms too.
We'll do that in a second too.
And we're gonna go through all the keys,
we're gonna go in the cycle of fourths.
We're gonna start on G and
then we'll go to C, F, B-flat, E-flat,
A-flat, D-flat, G-flat, B, E,
A, D and then back around to G.
Okay.
The cycle of fourths simply means
every time we start the pattern again,
we're gonna go up four notes in the scale.
So if we start on G,
one, two, three, four,
then we're gonna go to C, then [SOUND] F.
So, it's pretty simple with
regards to theory in general.
Any time I mention theoretical stuff,
there's some stuff in the acoustic bass
curriculum that deals with theory,
but also Jonathan Coopersmith,
on the ArtistWorks site has a full course
on theory and it's available to you and
I suggest you check that out as well.
He lays everything out very clearly.
So now here we are this
is called the spider.
[MUSIC]
So that's the basic
thing one two, three, four,
three, one, four, two.
So you can make it a chord, so you can go.
[MUSIC]
Now notice how I'm
doing that with my right hand,
[SOUND] I'm pulling my finger back.
I'm not doing a rest stroke,
cuz that would mute the lower strings.
So I'm sorta plucking it.
[MUSIC]
So I get a chord out of it.
That's one way of messing with it or
you can go.
[MUSIC]
Rhythm in six, eight.
[MUSIC]
So that's one, two,
three, four, five six.
One, two, three, four, five six.
[MUSIC]
Now the C.
[MUSIC]
F.
[MUSIC]
Different rhythms
through the whole thing.
You can play all through the page.
I don't think I need to play the whole
exercise for you, cuz it's all the same
fingering just starting on different
degrees and different places on the base.
Just going through all the keys,
that's the idea with the spider.
I will play a little bit in the lower
register to show you how it does change,
the feeling of the exercise changes
when you have to be down here.
[MUSIC]
All of a sudden,
the stretches are more
apparent and felt.
[MUSIC]
A little rhythm.
[MUSIC]
So that's
the idea of the spider,
getting you to To have
the coordination
to switch up and
flip your hand over like that.
One, three, two four, three one, four two.
These things, they might seem a little
abstract and esoteric right now.
But I didn't even realize how this would
help me later on when I would have to play
with jazz musicians like Chick Corea,
who wrote melodies that I would have to
play all these intricate lines had I not
practiced strengthening my left-hand and
being able to hammer and pull and
do different things articulation wise.
I would have never been
able to play that music, so
that's why I'm sharing
it with you right now.
[MUSIC]