Great content. Thanks for this. At some point though, you say that Bb is the relative major of Dm. Actually, Bb is the relative major of Gm, and the relative major of Dm is F.
very clear and helpful lessons. Hope you keep making videos. Been trying to learn how to walk on the electric, and one thing that doesn't seem to be explained very well in the various online videos or books I've looked at, is how to incorporate other notes from the relevant scale or mode in your walking lines. More specifically, how to identify which is the appropriate scale/mode over a given chord. I'm probably missing something. All that do say, would be awesome if this sort of thing was touched on in future videos 🙂
Thank you for this video! I've learnt again something about how bassplayers think (I'm a piano player, playing a little bass as well). On the conga topic I agree, after listening to "More Party Time". The conga player plays this kind of tumbao rhythm with a swing feel and is mostly a little bit late after the hihat. He seems to be a laid back player, while the drummer is a straight forward player. I think, the conga player should only emphasize the 2 and the 4 with a slap, listen carefully to the hihat and leave out the open beats on 4 and 4+. Especially the 4+ is a little too dominant, because it's always present, but jazz plays with the variations between the 4+ and the 1. Funny enough I find the same "problem" on "Party Time", though it's another conga player there. So either it's a conga player problem, or they wanted it this way. In modern times I would pull the conga track backward some frames in the DAW ... 😃
These are great lessons. Found out that playing over chord with just Root, 3rd and 5th, with sometime ornamented with Chromatic, 6th and 7th is plenty enough for me to have fun with that. Playing intervals above Root or below Root. Only thing is to place them in "proper" order that sound good. As far i am a guitarist, it would be pretty happy to master just this .
Keeping up, but just barely. Going to have to rewatch this a few more times. Also, it makes infinitely more sense if I have my hands on the bass rather than simply trying to visualize the fretboard and fingering. Stupid question #18 that I should have asked back in part 1: Let us say that I am looking at a very simple chart with only the chords for a song I am unfamiliar with - how do I know when it is time to move an octave up or down in the progression? My beginner tendency is to keep the root note the lowest note and play from there, so how do I break out of this? Is there a rule, or Is this something that comes with time and experience?
It’s something that comes from experience, yeah. In short, the register isn’t important by itself - we want to think about any LEAPS of large intervals carefully though (but octaves are pretty safe leaps). Generally we approach a differnt octave during the course of the natural movement of the line. If we’re walking upwards, you’ll eventually naturally get to the octave (at least the register) from the root. There’s no set rules at all. Totally up to the player. “Classy” choices in this matter come from experience …
Not at all - straight ahead and strive for tone is an old saying from musicians back in the day. Learned it from a teacher many many years ago who was part of that generation
@@LearnJazzBasswithMattRybicki indeed, i krant the transcriptions. I love your explanations and the buildup of your RUclips classes. It will help my playing on the cavaquinho.
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Great content. Thanks for this.
At some point though, you say that Bb is the relative major of Dm. Actually, Bb is the relative major of Gm, and the relative major of Dm is F.
Dang. You’re totally right. I have to issue some kind of correction. Thanks for catching that. I definitely
Misspoke
Best jazz bass teacher on YT.
How kind! Thanks!
very clear and helpful lessons. Hope you keep making videos.
Been trying to learn how to walk on the electric, and one thing that doesn't seem to be explained very well in the various online videos or books I've looked at, is how to incorporate other notes from the relevant scale or mode in your walking lines. More specifically, how to identify which is the appropriate scale/mode over a given chord. I'm probably missing something. All that do say, would be awesome if this sort of thing was touched on in future videos 🙂
Thanks for the kind words. I got you on the question. Look for that in maybe the next vid - hopefully this weekend
I really like this Walking Bass Line series. Easy to understand explanation and great examples. Thank you, Mr. Rybicki!
Glad you like them!
Best channel on jazz / upright bass. Thank you, please keep the great content coming.
Oh wow that means a lot, thank you! And thanks for watching!
I love this series of lessons. Superb clarity
Thanks for watching! Glad you’re getting something from them
Thank you!! Muy ineresante!! Toco el saxofón, este contenido es muy muy bueno para entender el jazz desde su base ritmica !! Best Regards
¡Muchas gracias por ver el vídeo!
Thank you for this video! I've learnt again something about how bassplayers think (I'm a piano player, playing a little bass as well). On the conga topic I agree, after listening to "More Party Time". The conga player plays this kind of tumbao rhythm with a swing feel and is mostly a little bit late after the hihat. He seems to be a laid back player, while the drummer is a straight forward player. I think, the conga player should only emphasize the 2 and the 4 with a slap, listen carefully to the hihat and leave out the open beats on 4 and 4+. Especially the 4+ is a little too dominant, because it's always present, but jazz plays with the variations between the 4+ and the 1. Funny enough I find the same "problem" on "Party Time", though it's another conga player there. So either it's a conga player problem, or they wanted it this way. In modern times I would pull the conga track backward some frames in the DAW ... 😃
Thanks for your reply and for watching, and your comment!
thanks for the lesson and PDF
Thank you for watching and writing!
Arnett Cobb - Misty 1982
These are great lessons. Found out that playing over chord with just Root, 3rd and 5th, with sometime ornamented with Chromatic, 6th and 7th is plenty enough for me to have fun with that. Playing intervals above Root or below Root. Only thing is to place them in "proper" order that sound good. As far i am a guitarist, it would be pretty happy to master just this .
Thanks for the kind words and for watching and I’m glad it’s helpful!
Great content! Especially the free pdfs! Thank you
You're so welcome!
Great content. I really feel like this is very palpable for the jazz-curious classical bassist.
Thank you! I’m so glad
Super ! 🙋♂👌
Thanks!
It's great! Thanks a lot!! From BRAZIL!!!
Glad you liked it!
Maravilloso , pude entender gracias a los subtítulos en idiomas , muchas gracias ❤
¡con mucho gusto! ¡Gracias por ver!
“Ver” is “see”, so since you surely meant “watching”, it would be “mirar “. 😉🤓
Thanks - yes I unfortunately am a silly American speaking just the tiniest amount of any other Language. So this was google translate…
Keeping up, but just barely. Going to have to rewatch this a few more times. Also, it makes infinitely more sense if I have my hands on the bass rather than simply trying to visualize the fretboard and fingering. Stupid question #18 that I should have asked back in part 1: Let us say that I am looking at a very simple chart with only the chords for a song I am unfamiliar with - how do I know when it is time to move an octave up or down in the progression? My beginner tendency is to keep the root note the lowest note and play from there, so how do I break out of this? Is there a rule, or Is this something that comes with time and experience?
It’s something that comes from experience, yeah. In short, the register isn’t important by itself - we want to think about any LEAPS of large intervals carefully though (but octaves are pretty safe leaps). Generally we approach a differnt octave during the course of the natural movement of the line. If we’re walking upwards, you’ll eventually naturally get to the octave (at least the register) from the root. There’s no set rules at all. Totally up to the player. “Classy” choices in this matter come from experience …
Is straight ahead implying that you don't like "outside" or free players?
Not at all - straight ahead and strive for tone is an old saying from musicians back in the day. Learned it from a teacher many many years ago who was part of that generation
It would be helpfull if you would split the notes and show fewer measures bigger…
I think you mean with the transcription, yes? Yes I do this in the later videos almost exclusively. Thanks for watching
@@LearnJazzBasswithMattRybicki indeed, i krant the transcriptions.
I love your explanations and the buildup of your RUclips classes.
It will help my playing on the cavaquinho.
@@nicookkerse4199 Thank you! I'm so glad it's helpful
I'm sorry if this is weird, but you're so handsome. Are you single?
Oh that’s so nice but I am happily married to a brilliant and gorgeous lady named Meg.