Mark, you are possibly the best beginner/intermediate bass teacher online. Clear and concise, you make learning fun. To the jerk that gave a thumbs down, seriously dude, get a life and move on to another video if this isnt your thing!
I am 55, been playing music almost my whole life, classically trained on saxophone, but also play bass as well. I can tell you this guy, Mark, is an excellent teacher, and he has a real knack for educating. After playing sax for 25 years I starting teaching, and quickly found i had to go back to the basics to explain it to students, which forced me to learn it all over again. I get the same feeling watching Mark's videos. For those of you who are younger, i can assure you that you cannot go wrong with Mark. Outstanding teacher that KNOWS what he is talking about.
Marc, do you know that you are an excellent music teacher? You are similar to a very memorable headmistress at my Secondary school who taught mathematics. She could bring a class labeled as F students up to A students by her methodical, clear, concise style of teaching. Now, that was almost 30yrs ago. A good teacher is like a good doctor, there are good ones and there are bad ones and you have proven to be the former. You care about us your students and are a damn good bass player. You love music and the bass and it shows. I am 45yrs old and new to the bass guitar. Thank You, Tina
Mark, I haven't met many good teachers in my life. but you are the exception. you inspired me to try the bass and I have no regrets :) thank you so much. I wish I could shake your hand sir.
Mark, you are my favorite bass teacher. I have been playing on and off for 20 years, started playing recently, discovered you and I agree with everything you say. Such a great player and teacher. You my friend rock.
I remember when I learned about the tritone I thought it was the coolest thing I’d ever learned lol I went around for like a week playing tritones on any instrument I could find
I love these lesson videos!!! As a beginner bassist I appreciate all the different lesson topics that you cover. Some don't make sense at first but as I grow I always find myself coming back to watch your videos and picking something up from them. Thank you Mark, keep making the videos if it's what you love to do cuz we love them!!!!!
Yessss dude! Best bass teacher on the planet. All of your tips, lessons and tricks are spot on mate. The way you break it down is direct link of how I want to learn. Thank you. I feel like you’re giving us cheat codes. I’m staring to see the patterns and I love it.
Mark, you are the best. Thanks for reminding me about all the printable resource materials on your website. I recently purchased a fretless bass, and am in love with it, and am determined to learn and understand theory on her.. finally!
Thank you for all those great lessons ! Concise, clear! "Simplicity is the ultimate sophistication" LdV. You illustrate that quote and by offering part of your work freely you honor music, and incidentally yourself ;)
Best bass lessons on the tube! Thank you so much, Mark, your lessons are really helping big time. Could you possibly do a series on fretless bass, please?
Intervals are like words the building blocks. I'm stuck on this idea that everything is a type of story. Every person place thing event action situation tells a story every story has a who what where when which why how. Story can teach persuade disuade . Anyhow great vid thanks.
Dude your lessons rule! You could start a whole other channel on how to teach other bass instructors. Or should I say "want to be's" on how to give effective and great bass lessons!!!!! One guy in particular comes to mind but I don't think he'd be very teachable but he needs it the most!!!
So If the Major 3rd from C is E, is the Major 4th an F or A? Like if C is the root and you go up a major 3rd then a major 4th, is the major 4th from the C or the E?
There's no such thing as a major 4th. C to F is a Perfect 4th. Intervals have nothing to do with scales or keys. They are independent of them. Intervals are measurements from one note to another. The naming convention comes from the major scale degrees but that's where it ends. Scale Degrees and Intervals are different.
Hi mark I practice major 3rd Intervalls almost every day in all keys for the sake of muscle memory, but honestly I still don’t get the theory behind it. Any go for that? Btw I hate reading. Big up
In standard tuning.....the strings are tune to Perfect 4th or INVERTED 5th G......................................4 D...........................b7.......R A..........................4..........5 E..........................R............ KEYS are just PITCH.....If you can play in C MAJOR/A min You can play in ANY KEY....Simply use the FRETBOARD as a slide ruler in ther words...The G MAJOR scale has the same INTERVAL as the C MAJOR scale...it's just in DIFFERENT PITCH. In other words...You need to learn the entire fretboard in C MAJOR/Amin The MAJOR scale ( as you know it) is just ONE out of 9 diatonic scales.. it is how ever the REFERENCE point for everything we communicate Basic chords are just EVERY OTHER NOTE...You get what you get. CEG...DFA...EGB....FAC..GBD...ACE..BDF CEGBDFA.....1, 3,5, 7.....9. 11. 13 ( 2, 4, 6) FAC.....is 1, 3, 5......in reference to the Major scale interval FACE.....is 1, 3,5, 7 EGB.....count from the E note....in reference to the major scale interval it's 1. b3. 5..... EGBD.....it's 1, b3, 5, b7 ACEG = 1, b3, 5, b7 = Amin7 There's other scAles....the formula is still the same.. EVERY OTHER NOTE example A harmonic min....simply have G# or Aeolydian with a maj7 A BCDEFG# A, C, E, G#........so the arpeggio are 1, b3, 5, 7.....( Amin/Maj7) E, G#, B...or E , G#, B, D 1, 3, 5 ....or 1, 3, 5, b7.....Maj or DOMINANT (E7) The process simply continue....A melodic min......F#. G# A aeo....with maj6 and maj7 ABCDE F#, G# it''ll just be like this..... A min....D7....E7 Well....Sometimes... It's Amin....G Maj....F Maj...E Maj ..into A min That's just the basic.... As a bass player...I need you to at least be able to play or know the arpeggio of the chords... espcaily when Im SOLOING over the Bass example....let say you play A MAJOR I can modulate to harmonize over the A Major chord... i can play different modes over that A MAJOR TONE center. The name of these modes simply tells me what the intervals are...that's all. A ion... A Mix A lydian A Mix b2 A Mix b2, b6 A Mix #4 A mix #2, #4 A ly #2 A loc b4 A phrygain b4 ( the b4 has the same pitch as Maj3....that's all) Just becuase I know how to play whatever ( maj or min) over chords dosnt mean everyone dose.... Even if i did play a b3 while over a MAJ3....chord. Im also going to play the maj3 note to harmonize.. The b3 is sort of like a passing note....into or out of the Maj3 Playing the bass sometimes is actaully like playing LEAD...it;s just in LOWER octive. The process can simply be REVERSE... I'll simply strike or strum an A MAJOR chord.. You do whatever is clever to harmonize over that A MAJOR chord. I'll actaully REST sometimes or haft of the time...to let the bass player play.. during turn arounds....sort of like playing DRUM ROLLS...'FILLS. It gives the band more of a BALANCE SOUND. Or sometimes...the bass and guitar are mimic each other note for note... But just in different octives..... ( whatever riff....various modes..ect) it would be helpful if you knew those intervals....becuase there's different ways to play it on the fret board. Your fingers might not be long enough..So you need to transfer it to whatever is more comfortible for you to play it.
OneEyE Monster bro I know how to play in a band and also with the fills and modes it’s just that i am relying on my very ear memory and sometimes plain visual on fretboard, yes I know it’s not always the right way. The basic theory I understand, I’m simply asking what is the exactly role of Intervalls and how to study it while playing, as i said i hate reading, I want to learn it and fully understand it while playing and/or practicing, however.
OneEyE Monster i read your comment again, do you want to say an Intervall is just an actual Intervall between the scales or modes of the scales?! If not then Sorry, i don’t get it :-(
YES....They are...Music theory will make more sense if you learn ALL of it...NOT just ONE scale out of the 9 ( 7 notes) YOu dont have to learn them all right away ... but do know they exist...and actaully work together. He's trying to keep it SIMPLE for you....MASTER it you must... but you're going to get off of that only one or REFERENCE interval. IT JUST the REFERENCE. I'll explain to you as easist as I can ...(ALL 12 NOTES WORK) 1..........2...........3...4.............5.............6............7..8 (REFERENCE) b2 b3 b5 b6 b7 ( 5 black keys on the piano) They had to call them something... b6 = Harmonic MAJOR b3 = Melodic min b3, b6 = Harmonic minor b2, b3 = Melodic min b2.....AKA (N6) b2, b3. b6 = Harmonic min b2 b3, b5 = melodic min b5 b3, b5. b6 = Harmonic min b5 ( III Mode of Hungarian MAJOR) b3 #4 = Melodic min #4 ( lydian b3 or IV of Harmonic MAJOR) b3 #4, b6 = Double harmonic min.....Aka...Hungarian min b3, b6, b7 = NATURAL Minor The lydian b3 or melodic min #4..is an overlape from Harmonic MAJOR. I did it like that...just to help you see... It's just a melodic min #4,...Vs Harmonic min #4 Those dominant ish...modes...derive from those 9 scales 1..........2...........3...4.............5.............6............7..8 (REFERENCE) All these modes has the MAJ 3rd and b7 ....in them mix= ION b7 Lydian = ION #4 Mix b2 = V of Harmonic MAJOR mix b2, b6 = V of Harmonic Min mix b6 = V of Melodic min Mix #4 = IV of melodic min Mix #2, #4 - Hangarian MAJOR Loc b4 = VII of melodic min Phrgian b4 = III of Harmonic MAJOR The #2...has the same pitch as b3 1..........2...........3...4.............5.............6............7..8 (REFERENCE) lydian #2 1.................#2 3............#4..5.............6...........7..8 Lydian dominant...( same as Mix #4) 1..........2...........3............#4..5............6...b7.........8 Mix #2, #4 or...Lydian dominant #2 ( Hangarian MAJOR) 1................#2.3.............#4..5.............6..b7.........8 aug 1.........2.........3...4.......................#5...6...........7..8 lydian augmented 1.........2.........3.............#4.............#5..6..........7..8 lydian augmented #2 ( vi of harmonic MAJOR) 1................#2.3...........#4..............#5.6..........7..8 You can REVERSE the PROCESS...PUSH UP from the relative min to it's Parallel MAJOR... the 3rd or maj3......b6 or Maj.6.........b7 or maj7 Are JUSt the SECOND ARPEGGIO of the I. IV , V chords G#.....F#......D# The D# or #4 is the second arpeggio of the II chord... If you play C#, F#, G#,....it'll simply be A MAJOR A min......D min......E min A min......D min E7 A min D7..........D7 A min B7..........E maj7 ( lydian b3) or like this,.....C Harmonic MAJOR The b6 is the second aepggio of the IV chord. C Maj.....F Maj G7 C Maj F min G7
