Absolutely brilliant and stunning lesson, Matt! I did learn a lot! Thank you so much for just giving away all those things. Your channel is one of the best educational channels you can find on RU-vid! Just WOW!
Your "follow the rules" mentality is appreciated. I go so far down the "there is no rules" path, it's good to be reminded that there might be SOME rules. Great video!
Mike Edmonds Quintet my band on RU-vid and Spotify. Thank you again for this lesson it’s great . I remember playing this tune with a great piano player and I asked what shall I play on the bridge or we play ? He said ohhhh effffing anything! So we went crazy on it
Practicing double bass through recording in my studio, definitely working with the same process - feeling good about that, thanks! That ‘no shift’ position is what I would always have been my electric bass go to position, the low notes on my double bass up there on what have been eight fret don’t sound very good, a shift probably worth it to me - in the studio… definitely like the Bb , OK on the I pattern too I think…. S truly warped cat might like the B on top instead of C ;-)
Great lesson, thanks for doing it! It's a good point that different bass & string combos would require different fingering for the same note! I was using the Chorda regular set, and really feel it hard to use those higher register notes on the E string. Wondering if you've had similar experiences?
This was requested to me by a good fellow drummer and I really struggled on understanding what was happening in this song. In a demonstration by a double bassist I saw he was doing the big shift to Eb and I was amazed by his ability to get it right every time. Then I saw the non shifting position by @mrsunnybass and I still love that. I really love how you get so deep with this song and I believe it is not just for this song, you are actually teaching me a method of studying. For this I am really grateful 🙏🏻. Waiting for part 2. ❤
Thanks Jimmy - I think these are Pirastro Evah Pirazzi Weichs - I've been trying out a few different things so I'm not 100% sure sorry. It's either that or Perpetuals
dominant flat 5 ... is there a scale, used by jazzmusicians, that is dominant with a flat 5? All the scales I can think of have a #11 ... Alt has a #4, #5, lydian dom has a #4, 5, Dim half-whole also #4 5 (1-b9-#9-3-#4-5), so what do you mean with dominant flat 5? (always confuses me ...) Especially when playing with older musicians, I see dominant flat 5 chords in their scores, it would mean that I can not play a natural fifth in my walking line, but most of the time the ear says that that is not the case, that I can play the natural fifth, so it should say sharp 11 ... no?
Hi there - this is a good question! First and most importantly, specifying a chord as formally having a b5 is intended to directly communicate that there is *not* a natural 5th but the flat 5 in the sound. Like you said, however, there’s millions of times where we as bassists can “get away with” playing the natural 5. But I think it helps to know the intention. It’s definitely not supposed to be a #11 and also definitely not supposed to have a natural 5. (Again, “supposed to” is relative, ultimately). As far as a scale with a “real” b5, the altered scale’s 4th degree can be *either* #4 or b5. Same with a whole tone scale. You could also think diminished whole/half. That fifth note could be considered a flat 5. To me, writing “7b5” _instead_ of “7alt” is a way for whoever is notating the music to communicate not only that there’s no natural 5, but most likely they don’t want to hear the b9 or #9 either from the altered scale. But that’s subjective too. And also for me, I used to shy away from that sound but now I really dig it! And I try to play the b5 myself cause I like the sound
15:10: it seems to me that ALL the ways of doing these things would be valid, and that the only ‘rules’ here are the wish of the bandleader and the direction in which the music is going. Stacked fourths (and suspensions in general) certainly open things up. So if the music a;lows, why not mix and match as you go along?
Yeah it might be possible - or it was just a passing thing. Maybe if I had a full transcription of what Herbie was playing in those exact moments we could “rebuild” the intention…but who know?
I'm a sax player and can only imagine the difficulty with finding the intune spots on a given string and how long it must take to be able to make the wider intervals. The hack about finding workarounds to simplify those dangerous interviews is brilliant. Sax players do something close by deciding to use the palm keys in certain circumstances. Question, is there any measurable tolerance when landing on the note and hearing an acceptable pitch?
Practicing double bass through recording in my studio, definitely working with the same process - feeling good about that, thanks! That ‘no shift’ position is what I would always have been my electric bass go to position, the low notes on my double bass up there on what have been eight fret don’t sound very good, a shift probably worth it to me - in the studio… definitely like the Bb , OK on the I pattern too I think…. S truly warped cat might like the B on top instead of C ;-)
