This is by far the best video on walking bass I've found. I think systematically shedding this stuff is the golden ticket to functional jazz bass and creates about as solid a platform as one can expect for a lifetime of exploration.
As an autodidact musician (for several instruments), I have watched maybe hundreds hours of music video lectures. This video is the best music teaching I have ever seen. So clear and so full of useful techniques. Thank you very much for making it available.
Chris ... Parts 1 and 2 have been among the best explanations of playing jazz on any instrument that i have ever encountered. So very well articulated, thorough, and beautifully structured, with such excellent examples ... I can't imagine anyone failing to grasp your material. Best of all it leaves the student with so many intuitive options to explore once theses basics are absorbed. Thanks so much for sharing this education.
I knew bits and pieces of this before, but these two videos have presented all this in a very clear and organized way and included a number of light-bulb-going-off type of moments! Thanks so much!
I'm a guitarist who uses the bass for home recording and composing mainly (rock/indie/electronic type stuff). Got called to fill in on a jazz recording, took it without thinking much, and immediately panicked. I found these videos and shedded the hell out of all the concepts and I'm glad to say I can now walk a bassline semi-confidently. More importantly, I learned HOW and WHY these lines are constructed. Amazing lessons!!!
I wish every teacher (of any subject) could teach as effectively as you do. Between this and the previous video, I feel like I have material to keep me busy for twenty years before I ever get around to some of the next-level variations you describe and demonstrate at the end. I actually had to write down some quotes, as they capture so much. Thank you!
Thanks for weighing in, and please share if you know anyone who could benefit! The series is designed as educational outreach, and the more people it is able to reach the better. :)
Another great lesson, Chris! I really love how long and methodical your lessons are, always makes you feel like you've just left the classroom! Looking forward to more great lessons sir!
That's great to hear, Kevin, because creating these longer contextual videos was a part of the original intent of the series. There are plenty of short topical videos around. Glad some folks appreciate the longer ones!
Chris your video series is fantastic. Most people would have to pay for this type of instruction. Thank you for sharing your knowledge. There are things that you explain like the "million dollar bass line" that I've been doing for years playing by ear and had no knowledge as to why.
jcorwin196 Glad you find it useful! Please share if you know anyone who could benefit. Working on the first Thumb position video in the next few weeks.
Very good, informative lesson. A lot of material. I love that, along with theory, these lessons also provides tips how to practice this new concepts. It really helps to dig into material and implement it in playing.
Chris you have the most first class video's on this form of music. I am so appreciative, that you have put these out to everyone, as a mature person learning double bass, I can't begin to say how happy I am that I stumbled across your lessons/tutorials. Really first class, I often struggle to grasp certain information or concepts, but the last 50 odd minutes have been the best time I have spent since embarking on this journey of learning and playing.
Thanks a lot, i am the principal doublebass player in a german classical orchestra and i am in love with jazz since when I was a child. I find your videos very helpful!!!
Amazing lesson for me since I've only been playing jazz for about a year now and I find walking the hardest of all the grooves and feels and what have you!
I've been playing bass for a very long time without having ever been able to get walking bass lines into my ears or under my fingers. After watching your videos it's finally starting to happen. Many thanks! On a personal note, for whatever reason, I learn best when I have everything laid out for me as completely as possible--not omitting anything that might seem obvious or easy. I find your explanations very thorough and complete and it really helps me a lot. Thanks again :)
I've always found it hard to practice walking bass lines, and by methodically describing the different components, this video has given me lots of fresh practice ideas. It was really helpful thank you !
amazing class, it open my musical mind, thanks for show me that i can play root, second major, minor third and major third in my way to IV, even with minor chords.
Hi Chris l have watched your videos several times and find them very informative. Could l suggest further videos on rhythm,blues various jazz bassist style
Thanks for the lessons! Definitely the best among all materials I've ever seen in the sense of clarity. A problem I'm encountering is that I sometimes lose my tempo when trying to add in some rhythmic embellishment. I would be glad to know some advice on that, and also may there could be a video on what exercise could be used to develop a good time feel😊
Thanks! My musical mentor always told me that embellishments are like Parsley on a plate of food. She said not to worry about the parsley until the actual food is the way you want it every time; based on this, I would work on the embellishments only in the practice room at slow tempos and leave them out of the finished product until they come out naturally without you having to think about them. All improvised music is a function of what the player actually hears, as filtered through what they can actually execute on their instrument. When a player loses time, my experience is that it's usually a function of the player not hearing clearly enough rather than a technical issue.
Thanks, Hank. All of the transcriptions that I have available for this series can be found underneath the playlist windows on this page of my site: www.chrisfitzgeraldmusic.com/videos/educational-videos/
Thank you for taking the time to post these great tutorials. I'm a retiree, teaching my self the bass guitar and find these videos most helpful. Thank you Thank you
Hi Chris. I recently discovered your videos. I find them very helpful. I started learning Double bass (first for classic music) at the age of 46. I am now 50 and learn jazz bass. I find it is not an easy task to learn cord progressions by heart.. Maybe one of your courses provides some tricks to learn faster ? Thank you very much and happy holidays to you. Steve
Thanks, Steve. I'll put that in the queue. I find that the best first step is to make sure you can learn to sing both the melody and bass line of everything you are trying to learn. That way, you have an aural frame work to work from, and the rest is filling in the details.
Thanks again. As always, the intellectual rigour of jazz is a great help in learning all styles of music - or so I have found. P.S. Nice ornament on the mantelpiece. Glass or porcelain?
Thank you so much for this incredibly valuable video. I'm slowly trying to learn all these building blocks. I know its been posted a long time ago but maybe you could help me with a question concerning the decending scalar approach. I simply don't understand wich 6th to use. The 7th is cleary determined by the chord quality thats easy enough. As to your example, it seems as if you are playing F-dorian, Bb-aeolian, Eb-mixolydian, Ab-ionian, Db lydian, G-mixolydian. How do I decide this? Sorry if this is a silly question but I'm pretty stuck.
It's a great question, and you are right about the scale types used in the descending lines. It's a long story, but I'm not a big believer in the "chord-scale" approach to jazz theory. To me, everything is about context; in other words, how does each chord relate to the chords around it? In the case of this song, all of the chords and the melody in the first 5 bars function as diatonic chords in Ab. In order, they would be vi-ii-V-I-IV. These functions would correspond to F Aeolian, Bb Dorian, Eb Mixolydian, Ab Ionian, and Db Lydian. That said, I don't think of five different scales to get to this place, but rather of one central key that the chords belong to. Does that make sense?
@@chrisfitzgerald8356 Thanks for your reply. I think I understand. So you are basically making sure that when you are playing the 6th of any chord it is taken out of the key centers parent scale. That's going to be hard ro do for me so I better get to practice immediately :). This seems to be too hard to think about when faking a tune though, or at least to me it does. Until I figured this out I guess I could start by walking downwards mostly on the dominant chords as those are pretty set and avoid walking down on minor chords. Thanks again for the brilliant video.
@@Stereosichtgeraet It seems complicated at first, but in the long haul it's actually way simpler to recognize chords that function together than to think if each chord as having a specific scale that exists in a vacuum. Happy practicing!
Wonderful lecture. Unlike many tutorials around on the web which merely present one particular trick about walking, your in-depth explanations are extremely helpful and far-reaching. In addition, your sound is gorgious. Unfortunately, I could not find the related PDF notes on your web site. Is there any place where one can acces them? Many thanks and congratulations for these lectures.
Patrick Bruno Hi Patrick. Thanks for the nice review! The transcription of the intro bass line can be found here on my website: 2014.chrisfitzgeraldmusic.com/?page_id=352 Look down below the video window and you'll find the link there.
Chris, is this your NS hybrid or the NS ply bass in the videos? Thanks for all the details and theory. I'm getting better everyday thanks to your help. Looking forward to practicing this one!
Thanks so much for your quick reply. I currently have a 1994 Lidl 3/4 DB manufactured in Czech, with spruce top, maple sides and ply back. It's difficult for me to know what "I" sound like from behind and above the bass. To make a comparison, could you recommend a recording mic and give a brief description of the studio conditions you are working with? I would be playing through a Yamaha Audiogram 6, if that makes a difference in specifying a mic. Thanks so much for your help.
hhohn I use an Audio Technica 2022 stereo mic direct into the camera. It sits on a short stand about 12-18" in front of the bass. I don't do much with the signal in Final Cut for the videos other than turn up the gain to a reasonable level. Hope this helps! www.bhphotovideo.com/c/product/761016-REG/Audio_Technica_AT2022_AT2022_X_Y_Stereo_Microphone.html
unless I'm misunderstanding (which I likely am), is there no issue playing a minor 3rd on a stronger beat (the 3rd beat) for a chord with a major 3rd? I always learned that this was kind of a no no, since you a soloist might be playing a major 3rd at the same time you play a minor? does playing the next chromatic tone in the next beat kind of mask the minor third? I'm just wondering why this works
It's a really common line played by bassists for generations. The minor 3rd ends up being a chromatic passing tone leading to the major 3rd, which then becomes a leading tone to the next target. It's all about tension and release.
joel Hewitt Todd Coolman's "The Bottom Line" ( www.jazzbooks.com/mm5/merchant.mvc?Screen=PROD&Store_Code=JAJAZZ&Product_Code=TC3#.VNILL8bIU6w ) and Ed Fuqua's "Walking Bassics" ( www.amazon.com/Walking-Bassics-Ed-Fuqua/dp/1883217504 ) are both nice.
This lesson (and part 1, which is at ruclips.net/video/SoIUfa98X3g/видео.html) are outstanding! They might appear long at first glance, but the amount of information you cover is unparalleled. They deserve tens of thousands of views! When discussing the scaler/linear ascending fourths you mention that it isn't dependent on the quality of the chord because it includes both the b3 and 3. Is the pattern dependent on the chord's quality when descending in fifths using the scaler/linear method? Am I correct that you are playing root, b7, 6, 5, target (when viewed from the starting root)? Does the quality of the chord affect the b7 or am I mistaken about the scale degrees? Thanks!
First off, thanks! Good to know the videos are being useful. The videos are designed as long because they are essentially multiple videos compiled into a "video book" to preserve context and present the information in the most useful order. I hope this doesn't turn off too many viewers, but I couldn't think of a better way to do it. I hope those who find the content useful would watch them in little pieces. Second, the descending lines are chord quality dependent. For a Ma7 chord, I would use the Major 7th, for Dom/min chords, I would use the b7. The reason this is not the case for the ascending is that all 3 types of chords share the common 9th.
There are a lot of different ways to do that. if we follow the general guideline in the video about chords that last for 2 bars in the video, we could treat the 5th of the CMa as the target of the downbeat of the second bar, which would give us two basic stepwise permutations: C-E-F-F#/G-A-A#-B/C (stepwise ascending) C-B-A-Ab/G-F-E-D/C (stepwise descending) From there we could add arpeggiated approaches like: C-E-G-B/C-E-G-D/C and the like. Then the two could be combined for more possibilities.
I'm back... It's a shame more people (including people who play electric bass, like me) haven't discovered Chris's videos. Check out this index to his videos: chrisfitzgeraldmusic.com/wp-content/uploads/2015/11/Topic-Index-v2.0.pdf
This is by far the best video on walking bass I've found. I think systematically shedding this stuff is the golden ticket to functional jazz bass and creates about as solid a platform as one can expect for a lifetime of exploration.
Thanks for watching! I am glad people are still making use of these videos.
As an autodidact musician (for several instruments), I have watched maybe hundreds hours of music video lectures. This video is the best music teaching I have ever seen. So clear and so full of useful techniques. Thank you very much for making it available.
Thank you! Total autodidact here as well. It's nice to get the feedback from one of my kind. :)
Agreed.
Chris ... Parts 1 and 2 have been among the best explanations of playing jazz on any instrument that i have ever encountered. So very well articulated, thorough, and beautifully structured, with such excellent examples ... I can't imagine anyone failing to grasp your material. Best of all it leaves the student with so many intuitive options to explore once theses basics are absorbed. Thanks so much for sharing this education.
Thanks for checking them out and weighing in. :)
I knew bits and pieces of this before, but these two videos have presented all this in a very clear and organized way and included a number of light-bulb-going-off type of moments! Thanks so much!
I'm a guitarist who uses the bass for home recording and composing mainly (rock/indie/electronic type stuff). Got called to fill in on a jazz recording, took it without thinking much, and immediately panicked. I found these videos and shedded the hell out of all the concepts and I'm glad to say I can now walk a bassline semi-confidently. More importantly, I learned HOW and WHY these lines are constructed. Amazing lessons!!!
Thank you! That's great to hear. :)
I wish every teacher (of any subject) could teach as effectively as you do. Between this and the previous video, I feel like I have material to keep me busy for twenty years before I ever get around to some of the next-level variations you describe and demonstrate at the end. I actually had to write down some quotes, as they capture so much. Thank you!
Thanks for weighing in, and please share if you know anyone who could benefit! The series is designed as educational outreach, and the more people it is able to reach the better. :)
Now we've got someone who talk seriously about walking bass line construction.
thanks a thousand times.
A thousand welcomes!
Another great lesson, Chris! I really love how long and methodical your lessons are, always makes you feel like you've just left the classroom! Looking forward to more great lessons sir!
That's great to hear, Kevin, because creating these longer contextual videos was a part of the original intent of the series. There are plenty of short topical videos around. Glad some folks appreciate the longer ones!
Chris your video series is fantastic. Most people would have to pay for this type of instruction. Thank you for sharing your knowledge.
There are things that you explain like the "million dollar bass line" that I've been doing for years playing by ear and had no knowledge as to why.
jcorwin196 Glad you find it useful! Please share if you know anyone who could benefit. Working on the first Thumb position video in the next few weeks.
Very good, informative lesson. A lot of material.
I love that, along with theory, these lessons also provides tips how to practice this new concepts. It really helps to dig into material and implement it in playing.
Great stuff Chris! I appreciate the application ideas and the progression of the lesson. Lots of material to work through. Dig!
Chris you have the most first class video's on this form of music. I am so appreciative, that you have put these out to everyone, as a mature person learning double bass, I can't begin to say how happy I am that I stumbled across your lessons/tutorials. Really first class, I often struggle to grasp certain information or concepts, but the last 50 odd minutes have been the best time I have spent since embarking on this journey of learning and playing.
+MrFireblade67 Thanks for weighing in. :) This is the best kind of comment to read, and is a big part of why I like doing this series.
This is gold for bassists. Unbelievable.
I'm a guitarist looking to add more variety in my walkings.
Thanks for watching!
Thanks a lot, i am the principal doublebass player in a german classical orchestra and i am in love with jazz since when I was a child.
I find your videos very helpful!!!
Glad to hear they are of use. Enjoy!
Amazing lesson for me since I've only been playing jazz for about a year now and I find walking the hardest of all the grooves and feels and what have you!
Best walking bass line lesson ever. Thanks Chris. Hoping to shake your hand one day and thank you.
Thanks for the feedback! I hope that day comes soon.
I've been playing bass for a very long time without having ever been able to get walking bass lines into my ears or under my fingers. After watching your videos it's finally starting to happen. Many thanks!
On a personal note, for whatever reason, I learn best when I have everything laid out for me as completely as possible--not omitting anything that might seem obvious or easy. I find your explanations very thorough and complete and it really helps me a lot.
Thanks again :)
Thank you! Glad the videos are proving useful to someone.
Thank you so much for these videos. They are amazing and by far the best I've found on the Internet, including tons of paid content.
Thank you! Glad they are useful to someone. :)
This lesson is fantastic. Thanks a lot Chris and others involved for taking the time to create and share this!
+Andrés Mejía Thanks for weighing in, and glad to be of service. :) Please share if you know anyone who might find it useful!
Thank you Chris for your generosity time and dedication, this is a great video and its help me a lot.... un fuerte abrazo desde Argentina !!!!!
+salvador barandiaran Thanks for weighing in! So glad that people all over the world are finding these videos useful.
I've always found it hard to practice walking bass lines, and by methodically describing the different components, this video has given me lots of fresh practice ideas. It was really helpful thank you !
I love to hear that!
Wish I could play a double bass but this is very useful on the electric. Big up Chris!👍👍
+Beassagra Thanks! Doesn't matter what instrument you play it on as long as the line grooves. :)
Really love your lessons. Thanks for posting them!
amazing class, it open my musical mind, thanks for show me that i can play root, second major, minor third and major third in my way to IV, even with minor chords.
Really enjoyed this and the previous lesson. Thanks a bunch.
Thanks Chris! Great material!!! Now I can play decent walking bass lines in my cello ;)
Love it that this goes beyond bass. :)
Thank you, Chris! This was wonderful.
Many thanks Chris, what a wonderful Christmas present. Plenty to keep my exploring into the new year.
Seasons greetings
Thanks, mark. Happy exploration!
really helpful for me as pianist trying to understand what bass does, thx
Great video and pedagogy !!! Thanx a lot for the sharing !!! All the to your jazz and you. ^_^
Thank you!
Great video!
Hi Chris l have watched your videos several times and find them very informative. Could l suggest further videos on rhythm,blues various jazz bassist style
Great lesson. Thanks so much.
Thanks for watching!
Excellent!
Great videos, thank you very much!
Excellent 👍
Thanks!
Thanks for the lessons! Definitely the best among all materials I've ever seen in the sense of clarity.
A problem I'm encountering is that I sometimes lose my tempo when trying to add in some rhythmic embellishment. I would be glad to know some advice on that, and also may there could be a video on what exercise could be used to develop a good time feel😊
Thanks! My musical mentor always told me that embellishments are like Parsley on a plate of food. She said not to worry about the parsley until the actual food is the way you want it every time; based on this, I would work on the embellishments only in the practice room at slow tempos and leave them out of the finished product until they come out naturally without you having to think about them. All improvised music is a function of what the player actually hears, as filtered through what they can actually execute on their instrument. When a player loses time, my experience is that it's usually a function of the player not hearing clearly enough rather than a technical issue.
Thank you for these lessons!
You are most welcome. Thanks for watching. :)
Thanks for tuning in!
Great lesson!
Thank you!
Is there a Part 3 video?
Eventually there will be a video on modal baseline concepts, but it may be a whole as it's in a queue of topics.
Cool, I look forward to it, Lessons 1 and 2 have given me plenty to work on,
They will keep me busy for awhile.
Professor, your videos are so clear and helpful. Do you have a transcription of Walking Bass Lines, part 1 and part 2?
thank you, Hank Greenblatt
Thanks, Hank. All of the transcriptions that I have available for this series can be found underneath the playlist windows on this page of my site: www.chrisfitzgeraldmusic.com/videos/educational-videos/
Excellent Tutorial
Thank you Thank you
Grampz stillkickin Thanks for sharing and helping get the word out!
Thank you for taking the time to post these great tutorials.
I'm a retiree, teaching my self the bass guitar and find these videos most helpful.
Thank you Thank you
Hi Chris. I recently discovered your videos. I find them very helpful. I started learning Double bass (first for classic music) at the age of 46. I am now 50 and learn jazz bass. I find it is not an easy task to learn cord progressions by heart.. Maybe one of your courses provides some tricks to learn faster ? Thank you very much and happy holidays to you.
Steve
Thanks, Steve. I'll put that in the queue. I find that the best first step is to make sure you can learn to sing both the melody and bass line of everything you are trying to learn. That way, you have an aural frame work to work from, and the rest is filling in the details.
Thanks again. As always, the intellectual rigour of jazz is a great help in learning all styles of music - or so I have found.
P.S. Nice ornament on the mantelpiece. Glass or porcelain?
Thank you! The vase is some sort of rough ceramic thing I found at an art fair 10 years ago. It's weird, but I always liked it.
Thank you!
thanks a lot Chris this is a 1000000 $ video.
Thanks for weighing in, and glad the video was useful!
Thank you so much for this incredibly valuable video. I'm slowly trying to learn all these building blocks. I know its been posted a long time ago but maybe you could help me with a question concerning the decending scalar approach. I simply don't understand wich 6th to use. The 7th is cleary determined by the chord quality thats easy enough. As to your example, it seems as if you are playing F-dorian, Bb-aeolian, Eb-mixolydian, Ab-ionian, Db lydian, G-mixolydian. How do I decide this? Sorry if this is a silly question but I'm pretty stuck.
It's a great question, and you are right about the scale types used in the descending lines. It's a long story, but I'm not a big believer in the "chord-scale" approach to jazz theory. To me, everything is about context; in other words, how does each chord relate to the chords around it? In the case of this song, all of the chords and the melody in the first 5 bars function as diatonic chords in Ab. In order, they would be vi-ii-V-I-IV. These functions would correspond to F Aeolian, Bb Dorian, Eb Mixolydian, Ab Ionian, and Db Lydian. That said, I don't think of five different scales to get to this place, but rather of one central key that the chords belong to. Does that make sense?
@@chrisfitzgerald8356 Thanks for your reply. I think I understand. So you are basically making sure that when you are playing the 6th of any chord it is taken out of the key centers parent scale. That's going to be hard ro do for me so I better get to practice immediately :). This seems to be too hard to think about when faking a tune though, or at least to me it does. Until I figured this out I guess I could start by walking downwards mostly on the dominant chords as those are pretty set and avoid walking down on minor chords. Thanks again for the brilliant video.
@@Stereosichtgeraet It seems complicated at first, but in the long haul it's actually way simpler to recognize chords that function together than to think if each chord as having a specific scale that exists in a vacuum. Happy practicing!
only 555 likes?🤯 this world is cursed
thank you very much for these great lessons!
Thank you!
Wonderful lecture. Unlike many tutorials around on the web which merely present one particular trick about walking, your in-depth explanations are extremely helpful and far-reaching. In addition, your sound is gorgious.
Unfortunately, I could not find the related PDF notes on your web site. Is there any place where one can acces them? Many thanks and congratulations for these lectures.
Patrick Bruno Hi Patrick. Thanks for the nice review! The transcription of the intro bass line can be found here on my website: 2014.chrisfitzgeraldmusic.com/?page_id=352 Look down below the video window and you'll find the link there.
Brilliant! Thank you so much! Is there a theory video to go with this one?
Thanks!. I tried to build the theory into this one so it could stand on its own.
Chris, is this your NS hybrid or the NS ply bass in the videos? Thanks for all the details and theory. I'm getting better everyday thanks to your help. Looking forward to practicing this one!
The bass in all of the videos is the hybrid. I can't recommend them highly enough.
Thanks so much for your quick reply. I currently have a 1994 Lidl 3/4 DB manufactured in Czech, with spruce top, maple sides and ply back. It's difficult for me to know what "I" sound like from behind and above the bass. To make a comparison, could you recommend a recording mic and give a brief description of the studio conditions you are working with? I would be playing through a Yamaha Audiogram 6, if that makes a difference in specifying a mic. Thanks so much for your help.
hhohn I use an Audio Technica 2022 stereo mic direct into the camera. It sits on a short stand about 12-18" in front of the bass. I don't do much with the signal in Final Cut for the videos other than turn up the gain to a reasonable level. Hope this helps!
www.bhphotovideo.com/c/product/761016-REG/Audio_Technica_AT2022_AT2022_X_Y_Stereo_Microphone.html
Awesome. Thank you again.
unless I'm misunderstanding (which I likely am), is there no issue playing a minor 3rd on a stronger beat (the 3rd beat) for a chord with a major 3rd? I always learned that this was kind of a no no, since you a soloist might be playing a major 3rd at the same time you play a minor? does playing the next chromatic tone in the next beat kind of mask the minor third? I'm just wondering why this works
It's a really common line played by bassists for generations. The minor 3rd ends up being a chromatic passing tone leading to the major 3rd, which then becomes a leading tone to the next target. It's all about tension and release.
Hey Chris what jazz books would you suggest for anh intermediate bassist!?
Can you give me more information about what type of book you're looking for? There are so many great books out there!
Jazz bass walking lines that highlight pretty much what discuss in your videos like aebersold but which one is the most recommended.
joel Hewitt Todd Coolman's "The Bottom Line" ( www.jazzbooks.com/mm5/merchant.mvc?Screen=PROD&Store_Code=JAJAZZ&Product_Code=TC3#.VNILL8bIU6w ) and Ed Fuqua's "Walking Bassics" ( www.amazon.com/Walking-Bassics-Ed-Fuqua/dp/1883217504 ) are both nice.
This lesson (and part 1, which is at ruclips.net/video/SoIUfa98X3g/видео.html) are outstanding! They might appear long at first glance, but the amount of information you cover is unparalleled. They deserve tens of thousands of views!
When discussing the scaler/linear ascending fourths you mention that it isn't dependent on the quality of the chord because it includes both the b3 and 3. Is the pattern dependent on the chord's quality when descending in fifths using the scaler/linear method? Am I correct that you are playing root, b7, 6, 5, target (when viewed from the starting root)? Does the quality of the chord affect the b7 or am I mistaken about the scale degrees? Thanks!
First off, thanks! Good to know the videos are being useful. The videos are designed as long because they are essentially multiple videos compiled into a "video book" to preserve context and present the information in the most useful order. I hope this doesn't turn off too many viewers, but I couldn't think of a better way to do it. I hope those who find the content useful would watch them in little pieces.
Second, the descending lines are chord quality dependent. For a Ma7 chord, I would use the Major 7th, for Dom/min chords, I would use the b7. The reason this is not the case for the ascending is that all 3 types of chords share the common 9th.
@@chrisfitzgerald8356 Perfect--thanks! That's what I assumed, but I am unqualified to make such assumptions!
whats a good way to walk from for example Cmaj to Cm
How long does each chord last?
it goes cmaj7 for two bars and cm for a bar
There are a lot of different ways to do that. if we follow the general guideline in the video about chords that last for 2 bars in the video, we could treat the 5th of the CMa as the target of the downbeat of the second bar, which would give us two basic stepwise permutations:
C-E-F-F#/G-A-A#-B/C (stepwise ascending)
C-B-A-Ab/G-F-E-D/C (stepwise descending)
From there we could add arpeggiated approaches like:
C-E-G-B/C-E-G-D/C
and the like. Then the two could be combined for more possibilities.
thanks! i doing this on electric but youre the only good walking bass teacher here. youre really good too
hellow thanks for lesson a cuestion pdf for all lessons,? good bye.
I'm back... It's a shame more people (including people who play electric bass, like me) haven't discovered Chris's videos. Check out this index to his videos: chrisfitzgeraldmusic.com/wp-content/uploads/2015/11/Topic-Index-v2.0.pdf