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Jazz Bass Lessons: Minor Scales in Closed Positions

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Now lets do minor
scales in close position.
We'll start with B again.
And the fingering would be, B.
First finger, C sharp two,
fourth finger on D natural,
first finger on E,
two on F sharp, four on G,
one on A, four on B,
so it is 1-2-4, 1-2-4, 1-4.
That's easy to memorize.
the same for
That's C.
C minor.
So, really, [SOUND] one.
[SOUND] Two.
[SOUND] Four.
[SOUND] One.
[SOUND] One.
Here's D, here's E flat [SOUND],
starts to get a little tighter.
hear the E [SOUND] Now F.
These are a little tighter in here.
I wouldn't always finger them this way.
So this one I'm gonna show you in
the interest of being thorough.
These last few,
even though they're really tight in here.
This position sometimes
we call it no man's
land right before thumb position and
the notes get very tight lets work on that
listen to the difference here's E which
Now the F minor.
It's a little tighter, and
this is a bass that rings terrifically,
so you might experience.
A little more tightness on your bass.
Now Here when we get to F sharp,
here's where we can switch the fingering
again as we did in the major to a shorter
one, two, three kind of fingering.
This is F sharp,
G sharp with the two,
Check with the harmonics of
F sharp one, G sharp Two
three with A.
And then the same here.
B natural with one
C sharp with two.
And then three on D
and then
one on E.
[SOUND] You're gonna use
four on F sharp, sorry.
So 1-2,-4,
1-2-4 ,1-4.
Same here with G.
And here you might want to
To bring your hand around a little bit.
Again, these are fingerings that
I normally wouldn't use actually,
I don't think, unless there was something
very chromatic in here that I really
needed to get around fast.
When we get into thumb position I'll
show you other alternatives for
you using even maybe the thumb
a little bit below thumb position.
And that's how, sometimes,
you get around this awkward area.
The last one would be A flat.
So we measure back from the A.
So that's one that's one, two, three.
One, two, three.
One, three.
So that's all the minors.
With the natural minor.
I'll go through them all at once now.
Here we go.
That is C,
C sharp,
E flat.
Check where you are, E.
F sharp.
[SOUND] Now we use the other fingering.
[SOUND] Be sure you get your
elbow up a little bit.
So, that's the natural minor scales.
In a very closed position.
Again, for sound I would say once you
get about F sharp You might wanna do
something different there maybe, here's a
i mean use your creativity but maybe here.
[SOUND] See,
that's a nicer sound than getting stuck
in an area where the string
has not much length where,
[SOUND] listen to the difference
to that and this.
So you see, you always gotta think
about sound when you deal with fingerings.
We've been showing you sequential
fingerings for all the scales.
Now it's time for you to sorta think.
When you have a passage of music,
when you encounter a piece of music,
what's the best way to finger this for
Sound has to be the judgement always.
I mean, sometimes you want
to have it be efficient, so
that you can move around quick.
But if you're moving around quick and it
helps you do that and it's expedient, but
it doesn't sound good, then you have
to weigh that and say, wait a minute.
That's not a good decision, because
the sound is not appealing anymore.
I can do it easier.
And it's more speeding but
it doesn't sound right.
So, hopefully this'll help you to
start looking at how different
parts of the bass sound differently, and
how if you use a different fingering,
it really affects whether the bass
can ring and be comfortable.
You always want to get as much string
length between your left hand and
your right hand.