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Next Level Bassist Left Hand

Summer 2014 edition of Next Level Bassist. Left hand techniques and exercises by Nicholas Walker, Jordan Anderson, Paul Kowert. Section Spotlight on Cleveland Orchestra. Up and Comers Tim Dilenschneider and Jordan Morton

Summer 2014 edition of Next Level Bassist. Left hand techniques and exercises by Nicholas Walker, Jordan Anderson, Paul Kowert. Section Spotlight on Cleveland Orchestra. Up and Comers Tim Dilenschneider and Jordan Morton

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2<br />

Tonic Harmony: minor seven/major six fingerings. Maintain the<br />

structure of hand setting trough the friction of shifting.<br />

<br />

3<br />

minor triad<br />

+<br />

1<br />

<br />

3<br />

1<br />

Major triad<br />

+<br />

3<br />

+<br />

2<br />

<br />

4-3 triad<br />

3<br />

2<br />

4-2 triad<br />

+<br />

Variation V: Shift: + replaces 3 ascending, 3 replaces + descending. Match pitch on the same string with a new finger.<br />

<br />

+<br />

1<br />

+<br />

3<br />

<br />

+<br />

<br />

1<br />

+<br />

<br />

3 + 2<br />

<br />

+<br />

<br />

3 + 2<br />

<br />

<br />

I II I II I II I II I<br />

I II I<br />

Variation VI: Shift: + replaces 3 ascending, 3 replaces + descending. Match pitch on a different string with a new finger.<br />

+<br />

3 3 + 2 II<br />

<br />

+<br />

2<br />

3 + <br />

+<br />

<br />

3<br />

<br />

+<br />

<br />

1<br />

<br />

II<br />

+<br />

<br />

I<br />

3<br />

<br />

+<br />

<br />

1<br />

<br />

II<br />

+<br />

<br />

I<br />

<br />

1<br />

<br />

+<br />

<br />

3<br />

<br />

+<br />

<br />

1<br />

+<br />

<br />

3<br />

<br />

+<br />

<br />

2<br />

<br />

+<br />

<br />

3 + 2<br />

<br />

II I II I II I II I<br />

I<br />

Variation VII: Shift: + replaces 3 ascending, 3 replaces + descending. New pitch (with +) after shift.<br />

<br />

+<br />

<br />

3<br />

<br />

+<br />

<br />

1<br />

<br />

+<br />

<br />

3<br />

<br />

+<br />

<br />

1<br />

<br />

+<br />

<br />

3<br />

<br />

+<br />

<br />

2<br />

<br />

+<br />

3 + + 3 + 2 II<br />

+<br />

<br />

3<br />

+ 2 <br />

<br />

+<br />

<br />

+ 2 + 3<br />

+ 2<br />

<br />

3 + 2 +<br />

<br />

II<br />

I<br />

+<br />

<br />

3<br />

<br />

+<br />

<br />

3<br />

<br />

+<br />

<br />

Variation VIII: Shift: + replaces 3 ascending, 3 replaces + descending. New pitch (with 2 ascending and with 2 or 1 descending) after shift.<br />

1<br />

<br />

+<br />

<br />

1<br />

<br />

II<br />

+<br />

<br />

I<br />

3<br />

<br />

+<br />

<br />

3<br />

<br />

1<br />

<br />

+<br />

<br />

+<br />

<br />

1<br />

<br />

II<br />

3<br />

<br />

<br />

3<br />

<br />

I<br />

+<br />

<br />

1<br />

<br />

II<br />

+<br />

<br />

I<br />

3<br />

+ <br />

1<br />

<br />

II<br />

+<br />

<br />

I<br />

3<br />

+ 2 <br />

II<br />

+<br />

3 + 2 + 2 +<br />

I II I II I<br />

3 + 2 <br />

II<br />

+<br />

+<br />

3 + 1 <br />

I II I<br />

3<br />

<br />

+<br />

<br />

1<br />

<br />

II<br />

+<br />

<br />

I<br />

3<br />

<br />

+<br />

<br />

Dominant to Tonic Harmony: diminished seven symetrical fingerings resolve to tonic hand setings. Remember to prepare the new hand-setting<br />

arrival finger on/in the string within the current hand-setting before the shift to the new hand-setting. Note this is the same diminished arpeggio<br />

as that on the previous page, though here requires a different spelling.<br />

<br />

<br />

<br />

dim triad<br />

2<br />

+<br />

1<br />

<br />

Listen for this scale<br />

minor triad<br />

3<br />

+<br />

1<br />

<br />

dim triad<br />

<br />

2<br />

+<br />

1<br />

<br />

Major triad<br />

3<br />

+<br />

1<br />

dim triad<br />

2<br />

+ 1<br />

<br />

4-3 triad<br />

3<br />

+<br />

2<br />

<br />

dim triad<br />

Variation IX: Shifting dominant to tonic hand-settings - LMHL (low mid high low). The lowest note of each triad forms the scale).<br />

Also play these variations LMHM, HMLH, HMLM, MHML, MLMH, etc. and experiment with mixing them together in one variation.<br />

<br />

dim triad<br />

1 + 2 1 1 +<br />

<br />

<br />

II I II I<br />

dim triad<br />

<br />

minor triad<br />

3<br />

<br />

minor triad<br />

1 + 2 1 1 +<br />

<br />

<br />

<br />

<br />

II I II I<br />

4-2 triad<br />

dim triad<br />

3 + 2 3 2<br />

+ 1<br />

II<br />

I<br />

3 +<br />

II<br />

II<br />

+<br />

<br />

II<br />

<br />

<br />

dim triad<br />

1<br />

etc.<br />

+<br />

<br />

I<br />

dim triad<br />

1<br />

<br />

+<br />

<br />

<br />

<br />

<br />

I<br />

I<br />

4-3 triad<br />

3<br />

Major triad<br />

dim triad<br />

2 1 1 + 3 1 1 +<br />

<br />

<br />

I II I<br />

+ 2 1<br />

<br />

+ 2<br />

<br />

II<br />

II<br />

+<br />

I<br />

<br />

I<br />

II<br />

I<br />

2 1<br />

<br />

II<br />

4-3 triad<br />

2<br />

<br />

Major triad Major triad dim triad<br />

1 + 3 1 3<br />

+ 1 3 2<br />

<br />

<br />

+ 1<br />

<br />

dim triad<br />

2<br />

<br />

<br />

Major triad<br />

I<br />

+<br />

I<br />

dim triad<br />

3<br />

2<br />

II<br />

2<br />

+ 1<br />

dim triad<br />

1<br />

<br />

<br />

<br />

1 + 2 3<br />

<br />

+ 1 + 2<br />

<br />

+ 1<br />

<br />

<br />

II I<br />

<br />

II I II<br />

II<br />

I<br />

+ 2 1<br />

<br />

<br />

I<br />

minor triad<br />

II<br />

<br />

4-2 triad<br />

3<br />

+<br />

2<br />

4-2 triad<br />

2<br />

+<br />

I<br />

3 2<br />

<br />

2 3 + 1 3 2 + 1<br />

<br />

<br />

+<br />

I<br />

minor triad<br />

3<br />

<br />

+ 1<br />

II<br />

+<br />

<br />

I<br />

I<br />

2<br />

dim triad<br />

<br />

<br />

dim triad<br />

<br />

+ 1<br />

II<br />

II<br />

+<br />

I<br />

II<br />

2<br />

<br />

I<br />

<br />

SUMMER 2014 NEXT LEVEL BASSIST 15

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