In 20 min you have given me probably 6 month of hard work . I'm really grateful as you give directions and goals to our practice. grazie mille Alessandro
Paul, thank you so much for your support and great work. Your videos are incredibly well done, helpful, and appreciated. Wishing you good health and joy.
Dude. Thanks! I'm merely trying to program a walking bassline, it's exactly as complicated as I thought it was - but with your stern guiding will, which barely belies such genuine passion, you have shown me the way and I'm enthusiastic about approaching it now!
Playing walking bass is an art form, so please take it seriously...at the end of all your precious and illuminating advices and informations you gave us in this vid, this is the most relevant. "continuous improvisation" they used to call it in the '70ies, and that's the name of the game!
this may be the best instrumental tutorial ive ever seen. you cover so much in just 20 minutes, enough to allow you to play a decent walking bass on just about anything if you apply everything here!
I’ve been a big fan for awhile and enjoy all your content! This and the other walking line lessons have come at a perfect time for my next gig. It’s been a minute since I walked hard lol. Thank you!🤘🏼🍻
Just a note to add about passing tones. If you’re playing with others, you probably should keep the passing tone diatonic to the key. If not, the “out” passing tone will clash with chordal instruments
I love the thorough content! Extremely helpful. Just one question, to me its sounds like an F# at 15:34 and 15:41, I was wondering if the underlying chord was different than I expected, or if it was intended to be natural.
Great stuff. Many thanks. How do you mean to play a drop in minor from the root (F) to the b3 (Ab) and walk up chromatically to the 5th (C)? Would you play F Ab Bb B C?
I use Thomastik Spirocore Weichs. I know a lot of people prefer Mittels, but I prefer the Weich gauge. They're a little more flexible and cut through better on this bass. Thanks for watching!
Not EVERY.SINGLE.CHANGE needs a leading tone... stepwise motion is just fine. When you have two chords per measure, with a leading tone, regardless of downword or upward (though downward is less problematic) you are reducing the IMPACT of the leading tone. Who cares when they are in the key of F and hear an E to F notes resolving a leading tone of a C7-Fmaj7 when EVERY OTHER CHORD ALSO GETS A LEADING TONE... not to mention in the case of two chords per measure, literally half of the notes end up being "leading tones" ruining the impact of the leading tones when we actually want to hear them... That is one of the legitimate reasons why so many musicians "hate jazz", because so many people misuse the beautiful technique to emphasize EVERY CHORD when so many of them end up just being alterations of the harmonic rhythm or passing chords in a progression and DON'T need to be emphasized like they're an authentic cadence or with tendancy tones. I can hear it in my head now: "Jazz IS stupid, just play the right notes!" If the tendancy tone NATURALLY EXISTS within the altered degrees (or unaltered) then absolutely use it, but if you're playing the third of a Bb chord moving to the root of the F chord that SAME measure a couple notes away, you DO NOT need to play E natural when the F7 has the Eb in the chord AND the tune has Eb in the key... just play the Eb, otherwise you're emphasizing the tonal center as the harmony of F MAJOR (which is fine if that's what you want, but when you do it for EVERY CHORD, you have removed ANY TONAL CENTER and made everything just sound "do ti do ti do ti do" until nobody cares when you actually do use a REAL LEADING TONE to return back to the I or vi.
If I were to play a song like Stella by Starlight where the feel is half, how would I create this smooth bassline with passing tones but also using chord tones on 1 and 3?
I will try to answer this in a comment: you can walk anything, any changes if you find neighboring chord tones. 2 & 4 should lead to 1 & 3. Dig? This is not the only approach. Passing tones are only one of many options. Don’t forget scales, arpeggios, repeated notes, substitutions, etc. Sit down and write a chorus (or 3). It will help you slow down the process and understand creating a line better.
Scales--if you're dealing with modes. Remember, though, that scales are not chords. Modes are easy. Nothing is wrong. Knowing chords means knowing which notes belong and which notes don't.
Hi I am Very new to the double bass and.some have given me a bass for free.how much would it be for your videos or Dvd.so I can learn slowly.. I only want to learn jazz not play the Electronic bass just the upright.and I do have book on Raybrown and one call the upright jazz master book it's uellow