Great lesson. I have a question -- Why specifically was the 3rd degree of the scale the target? Is there something about that degree of the scale, or was it just used as a reference for this lesson. Could you pick a different degree of the scale and apply the same methodology?
Thanks for the question! So we’re talking really about chords and chord tones here not necessarily scales - on any major structure or key center targeting the the third as our starting note and then playing minor materials (minor triad, minor 7th arpeggio, etc) gives us access to the pitches that ring out most. Often we can also target the 7th on major structures accessing the same minor materials, but in this case targeting the third works best. Of course we also have the range of diatonic triads and 7th chord arpeggios , but there is a hierarchy I believe for the sounds that work best “right out of the box”. For me, on Major 7th chords, these are off of the third and sometimes the 7th.
@@LorinCohenBassist I see. So it's really that the tones from the 3rd, based in a minor tonality, are the "money notes" and bring the most "color" out for support. Does that sound about right? So you could, in theory, target other diatonic tones and apply the same principles, it just wouldn't be as colorful then?
So quick question if you don't mind answering: Key of Am/Cmaj, Progression is Dm7, Em7 and Am/Am7. What would or should the target not be in this progression and would it work the same as in your example, using the 3rd in this progression as well, i.e. E being the 3rd of C, and using a minor tonality with Em?
Thx for the question - yes that should work but with the minor tonality just be specific about the materials you’re using. Start simple- just an E- triad and build up from there I do have a specific method that outlines all the possibilities for that minor tonality but just to much to detail here. Feel free to shoot me an email at Lorin@lorincohen.com
There is a Maj pentatonic lick/fill I have memorized In all 12 keys. It deals with the same concept except I play it on 4 string and play it in position with Root on E string & jumping to the 3rd/(10th) on the G string. Always wondered why it worked & this explains it I havnt been able to find a way to make it work in a minor Key. Is there a note or chord tone in a minor key that you can target? Does the minor 3rd “work/sound good” jumping from the R to the (10th) of a minor chord or I just approaching it the wrong way? I subscribed to your page and you answer this in another vid. (Am7 jumping to Maj 6th F#). Gonna try that. Thank you and look forward to more of your videos
It seems to be a fad for RUclips presenters to hide behind bulky podcast microphones. Most annoying when you can't see the presenter's face. An inconspicuous lavalier type microphone will capture the same sound. So unless you are selling microphones and not information, why not set the big microphone aside. I come from a television production background so know what I am talking about. Apart from that, thank you for great information.
This is an absolute game changer!!!!
@@jmoosic thx!
Excellent Lesson. i have always wondered how to know where to “leap” to. Thanks alot
Glad it was helpful!
Great lesson. I have a question -- Why specifically was the 3rd degree of the scale the target? Is there something about that degree of the scale, or was it just used as a reference for this lesson. Could you pick a different degree of the scale and apply the same methodology?
Thanks for the question! So we’re talking really about chords and chord tones here not necessarily scales - on any major structure or key center targeting the the third as our starting note and then playing minor materials (minor triad, minor 7th arpeggio, etc) gives us access to the pitches that ring out most. Often we can also target the 7th on major structures accessing the same minor materials, but in this case targeting the third works best. Of course we also have the range of diatonic triads and 7th chord arpeggios , but there is a hierarchy I believe for the sounds that work best “right out of the box”. For me, on Major 7th chords, these are off of the third and sometimes the 7th.
@@LorinCohenBassist I see. So it's really that the tones from the 3rd, based in a minor tonality, are the "money notes" and bring the most "color" out for support. Does that sound about right? So you could, in theory, target other diatonic tones and apply the same principles, it just wouldn't be as colorful then?
Make sure you don't get fired. Pick your spots carefully. Listen to Verdine White
👍
So quick question if you don't mind answering: Key of Am/Cmaj, Progression is Dm7, Em7 and Am/Am7. What would or should the target not be in this progression and would it work the same as in your example, using the 3rd in this progression as well, i.e. E being the 3rd of C, and using a minor tonality with Em?
Thx for the question - yes that should work but with the minor tonality just be specific about the materials you’re using. Start simple- just an E- triad and build up from there I do have a specific method that outlines all the possibilities for that minor tonality but just to much to detail here. Feel free to shoot me an email at Lorin@lorincohen.com
@@LorinCohenBassist ok great I'll email you. Thanks!
This made me smile
Wonderful!
Great video - thanks !
Glad you liked it!
Great Lesson! Thanks Lorin!
Glad it was helpful!
Love formulas. So we can choose different target notes?
Yes but some work better than others depending on chord type and/or key center
Thank You Sir and God Bless🙏🥰
Same to you! Thx for the support
Awesome lesson
Very good lesson sir . Thank you
Appreciate the support!
This is awesome, thank you!
@@gotpocket9373 thank YOU for the support!
What great lesson! Dang, wish I had this process growing up😆
Thx my friend! Appreciate the support! I hear ya on “stuff I wish I knew back then” 😀
@@LorinCohenBassist Yep. So question; if you're playing a A-7 to D7 groove, would you consider that a Gmaj and target the B?
Love it! Thanks
Glad you like it!
Great lesson,Lorin!👍🏼👍🏼
Thank you! 😃
Thanks mate!
Thanks for checking it out!
I really appreciate your content and I am looking forward to hearing more. Thanks
@@CalvinMoore-sq9pn thx for the support!
Great lesson! One more subscriber
Thanks for the sub! 🙏
There is a Maj pentatonic lick/fill I have memorized In all 12 keys. It deals with the same concept except I play it on 4 string and play it in position with Root on E string & jumping to the 3rd/(10th) on the G string. Always wondered why it worked & this explains it
I havnt been able to find a way to make it work in a minor Key. Is there a note or chord tone in a minor key that you can target? Does the minor 3rd “work/sound good” jumping from the R to the (10th) of a minor chord or I just approaching it the wrong way?
I subscribed to your page and you answer this in another vid. (Am7 jumping to Maj 6th F#). Gonna try that. Thank you and look forward to more of your videos
Thx for the support!
Nice job 👍
Thanks 👍
Great lesson! What kind of bass is that?
@@HarmfulSauce thx for the support! @overwater basses - made in 🇬🇧
overwaterbasses.com
VERY COOL.....THANK YOU....
Thanks for the support
Great lesson, thanks. One just need to be careful not to OVER DO this concept and then find oneself to be annoying your fellow bandmates.
Absolutely!
What's a good to start on? TIA
I meant good bass to start on
Depends! Different Targets for different chords & progressions
Thank you I'll have to do some research
this was inspired by disco ulysses right? i really like this lesson!
EXCELLENT TUTORIAL!!!
Thank you!
It seems to be a fad for RUclips presenters to hide behind bulky podcast microphones. Most annoying when you can't see the presenter's face. An inconspicuous lavalier type microphone will capture the same sound. So unless you are selling microphones and not information, why not set the big microphone aside. I come from a television production background so know what I am talking about. Apart from that, thank you for great information.
@@PhilSeymour-t8c 👍
Back in time..thats the problem….not being late
True!