Total Dominants: Using Triad Pairs on a Blues 

Love it! It's not a stage name, I promise. Thanks for watching and I hope it inspires some shedding! All the best, Bob

Wait, isn't "boo" old time slang for weed?

thanks for watching Ken and I'm glad it was helpful! -Bob

LOL! You're killing me Stan : ) Definitely no math wiz, but I do love the bass. Thanks for watching and for the awesome comment!

Hi Amoti! Thanks for watching and for your comment here. If you have any suggestions for a future video please let me know! Happy Practicing -Bob

Thank you!

Thank you Andy!

Glad to hear this Andrew. I've been meaning to go check out more Jazz Duets stuff, their videos are great! Appreciate you watching and thanks for the comment. 🙏

@@bobdeboo8549 😊 👍

🙏🙏

thanks David!

Thanks for watching!

Thanks for watching Amery

My pleasure John. Thanks for watching!

Thanks Jon 🙏

thank you Jesus!

Thanks for watching Sam!

Thanks Don. Appreciate your comment! -Bob

Thanks Bruno!

Thanks Chad! See you at the Saturday bass gps

Glad to hear it Dan! Thanks for watching and for the comment. Happy Practicing! Bob

Grateful 🙏

Thank you 🙏

Thank you for watching!

Thanks for watching 🙏

Relatable comment right here! Lol 🤣

Thanks for watching!

Hi Jim! Doing well my friend. Thank you 🙂

Thanks for watching Rob! Not too sure on your question, but I'm open to a discourse... let me know🙂

Thanks Simon!

Hi David. Thanks for watching and for your comment. The saxophonist's name was Wayne Delano. An incredible musician in the Dallas/Fort Worth area that I was lucky to play with a lot when I was just getting into playing back in the early 2000s.

Thanks for watching!

Hi! Thanks for watching and connecting. I'll let our open studio people know that the pdf download didn't work.

i hear you...but I will never think of it as Cb personally. It's all about the quickest/easiest way to get the sound. It's all going to go by so quickly anyways! Thanks for watching and for comment!. Peace, Bob

Thanks for letting me know. I'll pass this on to our team and get it fixed asap. 🙏

The chord written with the b5 would suggest an altered sound, but he's going for a dominant diminished sound which is 1 b9 #9 3 #4 5 6 b7. So not really a Cb, but a B... Same note, different context, different sound.

Hi Kris! Totally valid point. It works though. Kinda like how you can add a #9 and b9 at the same time - you can do that with the 5ths too... how does it sound though, right? Best, Bob

While it's not a "bass book" - the first book I came across was called "Intervallic Improvisation" by Walt Weiskopf. It's all in treble clef, but the concept is the same. If you find a good bass version please let me know.

@@bobdeboo8549 I was going to suggest the same book. A fountain of knowledge! Great video btw Bob!

@@bobdeboo8549 give me the link

sorry to hear that Nestor. The link just worked for me. Have you tried it again perhaps?

Thanks 🙉

That's definitely a big issue for newer upright bassists... perhaps check out my "where are the Notes" course

@@bobdeboo8549 I will check it out...

i know, right?! lol

@@bobdeboo8549 talk about onomatopoeic XD

@@alfieharries ha! nice

Bob, ‘love your name! “DeBoo,” because of course, in French “DeBoo” (debout) means Stand up! 😊

There are many possibilities. He demonstrated a very inside one and a more outside pair. There are many more.Use the ones you like.

It would take a lot longer than 25 minutes if he had to teach everyone music theory. This is not a complete curriculum for jazz bass, its a 25 minute video showing one concept. Not trying to be rude but if you are gonna make a Quick video about triad pairs on a blues you have to assume the audience knows the basic theory, otherwise you should look elsewhere to learn about jazz music theory

A simple trick (I think I learnt it in a Jens Larsen video on triad pairs) is that if the scale of the chord has an avoid note, your first triad can be the one that starts (in root position) one scale degree above the avoid note, and then your second triad starts one scale degree above the start of your first triad (or two scale degrees above the avoid note) Then you have picked two triads with 6 notes, out of a 7 note scale, and without the avoid note. Example: a C major chord, in the role of a tonic chord, has F (the 4th of the scale) as an avoid note. One scale degree above the F, you have a Gmaj triad (G B D), and one scale degree above G you have a Am triad (A C E). That's two triads with all the 6 "non avoid notes" from the 7 note scale But as Tom email said, there are many posibilities. Bob's choice of the Cm and Dm triads for the F13 chord matches this method if use it to pick a triad pair from the F mixolydian scale (which has the avoid note Bb). But that't not the only scale you could decide to chose a triad pair from.

@@vilhelmtanner6544 I know theory quite well, thank you, but theory doesn't explain the choice of those two particular chords as triad pairs.

@@orritomasson6781 Very helpful. Thank you.