More on the Blueprint.
Simandl is flawed because it is too thorough and too time consuming. As is Rabbath for the purpose of Jazz playing (right now.)
Classical is based on position and practice, therefore the above methods are elminated by time and dedication.
So how am i approaching the scales?
In vertical climing position through modal juxtoposition with the inclusion of the decending notes on the adjacent lower string through the use of the tonal center on the D string.
The patterns will overlap through the use of the Paul Gilbert 3 note per string shapes taught from the Musicians Institute curriculum. Overlaying them will provide a complete lattice work for my practice regimen that should combine the step approach of simandl with the flexibility of Rabbath. This is a starting point with the addition of non scale tones and cromatic additions to every permutation giving me the geometric ability to see the fingerboard in its entirity like i do on my 7 string basses.
The evolution of this process will be to move to five note per string shapes (3+1, 3-1,) and then moving into 4+/- one shapes as i become more flexible.
This is mainly for the upper positions as the lower position exercises are from the Rabbath book.
Fingerboard mastery is the goal.
Oh, and make sure you say each note aloud when you play it, or your not going to get any benefit.
Classical is based on position and practice, therefore the above methods are elminated by time and dedication.
So how am i approaching the scales?
In vertical climing position through modal juxtoposition with the inclusion of the decending notes on the adjacent lower string through the use of the tonal center on the D string.
The patterns will overlap through the use of the Paul Gilbert 3 note per string shapes taught from the Musicians Institute curriculum. Overlaying them will provide a complete lattice work for my practice regimen that should combine the step approach of simandl with the flexibility of Rabbath. This is a starting point with the addition of non scale tones and cromatic additions to every permutation giving me the geometric ability to see the fingerboard in its entirity like i do on my 7 string basses.
The evolution of this process will be to move to five note per string shapes (3+1, 3-1,) and then moving into 4+/- one shapes as i become more flexible.
This is mainly for the upper positions as the lower position exercises are from the Rabbath book.
Fingerboard mastery is the goal.
Oh, and make sure you say each note aloud when you play it, or your not going to get any benefit.