Wow glad you saw it too. He had a really informative vid and was super helpful but once you see his bass face its hard to watch his fingers..but anyway great lesson
Every time I heard Ari play, I was always fascinated by his sound. He's the reason I picked up the double bass when I didn't have a clue about jazz music. This man can drive any band with his big sound. Really, listening to him live is like magic for any bass player.
The essence of a bass sound is those fat,resonant notes. This guy know a LOT of stuff, good stuff. Wish I had him as my teacher 60 years ago (but that would have been before he was born).
guts. staccato. old school dude. well-done.his tips are super good too. open strings to maximize mobility and leaps. string skipping at fast tempos. walking analytics.
All of these tips are applicable to electric bass. Especially the one finger thing. Open strings also but eb players hate open strings and don’t know how to use them for getting around the finger board.
@@davenatale850 ok it was a generalisation but your upright training helps to get you to us open strings. Bass guitar players just buy basses with extra strings often just to avoid moving up and down the neck. Too much like hard work!
Interesting how he doesn’t say anything about the notes...but this is still great. Good information that I haven’t seen in other videos (Scott’s bass lessons doesn’t stress the importance of using open strings, or much about right hand technique, OR about playing with other people in his videos about walking bass lines). But these ideas in conjunction with Scott’s ideas about the notes is a really good place to start.
My problem is where to land during the chord changes. I tend to start from root of each chord and walk, but I know that's not the correct way. What are some good tips for a creative flow while the band is changing from chord to chord?
It's impossible to fully explain in a single youtube comment, but there's a few things that have helped me: -Writing out basslines: when you're starting out it can be frustrating because you have to be 'in the moment' when walking, so sitting down and writing out your own bassline to the chord changes of a tune can help work out ideas that you might not yet be able to improvise while playing. -Transcribing: Essentially the same value as writing out your own bassline, you get a new perspective on the changes to a tune when you transcribe the walking lines of Paul Chambers, Doug Watkins, etc. -Singing: Put on a record that you know the changes to and try to sing/hum a walking line. The removal of technical barriers helps with again with inventing lines that you wouldn't otherwise play with the instrument in your hand. Singing also forces you to play more with your ears than with fingering patterns and scale knowledge. And one last thought: Generally walking basslines become a lot easier if you think less about "outlining" the chord that is currently being played in the measure, and more about how to lead into the next chord effectively. I usually think of a 4/4 measure in this way: Be sure to hit the root, 3rd, or maybe the 5th on beat 1, and the rest of the beats can be treated as steps for getting to the next chord (although optimally you are hitting a chord tone on beat 3, since it is also a strong beat like beat 1). Most importantly, don't get too hung up on note choice! If you keep practicing, listening, and thinking about jazz, the music will eventually shine through.
Hey Joe! Zach had a good post. I'll throw in my two cents. 1. First, Jazz bass lines are all about where you're going...not where you've been. Your goal is to continually be aiming at the next chord change and deciding the path you want to take in order to get there. Not always, but around 60 to 70 percent of the time when playing a quarter note pulse it is good to be a half step away either above or below your next target on the 1. It doesn't matter if the note is "outside"of the chord, because you are going to usually be resolving to the next Chord...and that slight tension followed by release, especially on the principle downbeat, is very musically satisfying. You'll start hearing some sounds you've been missing. If youre ascending, be a half step below (sonically) your target. If you're descending, be a half step above your target. 2. Next, dont be in a rush. Pick a well known standard...or one you like to play and get the music for it from the "Real Book". Then get some staff paper out and copy down the chord changes. Even if you dont know how to write or read, it doesn't matter. Just learn the Bass Cleff staff or get a copy of it and put it next to you. Just use quarter notes for every beat. No fancy symbols needed. Then, just work on getting from one chord change to the next...with your motivation being the next chord. The kicker with this exercise...try doing it without your bass present. Visualize your bass. Visually what you want to see is a pattern that resembles the waves in the Ocean. It's appearance should have a nice contour to it across 4 bars. Use chord tones and chromatics to get to your next target. Then try the line with your bass. Make changes as you see fit. 3. A note about chords. If you see something special about a chord...like for instance a G7 # 9, it would be in your best interest to address the "#9" (Bb) in your outline and while on the way to your next target. If you see a Bb min 7 b5, you will definitely want to play the E natural in your line ( the b5) as another example. 4. Your role as a Jazz bassist is to be the pulse and "Mind the Shop". You are mostly always telling the "truth" of what's going on. So no matter how far "outside" another player is going...you are telling the truth and keeping the band grounded to the form. 5. This video above is ok and this player is doing a good job. The one thing I would suggest though is treating your bass line as though it's a lower melody. It should be rife with presence and shape. Your lines should sound good on their own and have a melodic quality about them. The video above really lacks in this quality when he's walking the blues in the beginning. I think it was more about him driving home the point about sticking to quarters than actually lacking in skill, however. 6. Remember, you're the Pulse. That is well more important than tri-tone substitutions, independent turn arounds or anything else. Get your feel right, look to where you're going and tell the truth. Your bandmates will love you for it.
Great job Ari. I'm a retired bassist but I still give private lessons.. I had the benefit for playing for several big band artists: Clark Terry, Toshiko Akiyoshi, Linda Twine and others. Playing a fast up tempo tune on the string bass is a challenge but with practice and concentration you can master it. I actually use three fingers and the action on the finger board will also help; try installing an adjustable bridge on your upright. I had my share of making wrong notes on a fast tune (reading or improvising). Always expect the unexpected when walking fast on the bass; especially if its an opening number. The most important thang is hitting the money notes.
Smandle method for double bass has all the nice scale reading excersises with different hand positions both open and closed, 1st pos, 2nd pos and so forth.
hey Ari..you're a real master! i still remember the night we play a couple of tunes with Stefano Doglioni when Pasquale Grasso gave me his guitar..Amazing! Thank you again Ari
Please repeat the part about quarter notes so people internalize it. I hate to say it, but unless it is your turn taking a solo, the bass is to be felt not “heard”. If the line is too busy it likely isn’t going to drive the rhythm. You’re more likely to fall out of pocket with your percussionists. Bass and percussion are responsible for getting people’s feet moving. We aren’t the part they hum walking down the street later usually. Not that the bass is never melodic, but primarily we are the groove.
Having the chord changes under scroll or to the side would have been very helpful to understand that he's not just chopping away but actually playing a 'structure'. Good nevertheless.
The Jamey Aebersold series is great to get started with. I have all 100 plus volumes for Bass. This will allow you to play with musicians that are playing jazz standards without the bassline present.
