Primary Music Theory

 
 
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Two superpositions on the four string bass are not so clearly visible as, for example, on the six string bass, but this doesn't influence their importance. These exercises represent the same basic figures (triads and seventh chords), but they are performed in octaves. Visually they look the same in every octave. Superposition figures cover slightly more than one and a half octaves with the one shift of the position on the four string bass. The importance of these exercises can hardly be overestimated. While working on the given exercises, it is very important to look carefully at the given fingerings and perform these equally all the time, without changing fingerings. Such performance will lead to the so-called "ear automatics". On the four string bass the first superposition begins from the lowest E string and the second - from the A string.  For example, for the G major key the first superposition begins from the G note, based on the third fret on the E string, the second superposition begins from the G note, based on the tenth fret on the A string. All pictures represent ascending and descending fingerings, red arrows show the direction of the movement. Every figure is presented though two exercises - duplet and triplet. Pay attention that the fingering doesn't change while performing both exercises.

    © musicsch.com 2010-2012 GennadiyKlyuevskiy



 
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   Superposition figures
     Triads with the bass on the B string
  Two and a half octave arpeggio of the major triad
  Two and a half octave arpeggio of the minor triad
  Seventh chord with the bass on the B string
  Two and a half octave arpeggio of the major seventh chord
  Two and a half octave arpeggio of the minor seventh chord
Two and a half octave arpeggio of the dominant seventh chord
     Triads with the bass on the E string
  Two and a half octave arpeggio of the major triad
  Two and a half octave arpeggio of the minor triad
  Seventh chord with the bass on the E string
  Two and a half octave arpeggio of the major seventh chord
  Two and a half octave arpeggio of the minor seventh chord
Two and a half octave arpeggio of the dominant seventh chord