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Lol Wow love it

all well said!!

Thanks a million!

Yes exactly - thanks for watching and commenting!

Hey there - thanks for the kind words! I have a 7/8 and a 3/4. 4/4 are pretty rare and would only be rarely used with orchestras. The size depends on your own physical size. But the most important thing is that the bass sounds good and is set up well. Unless you’re particularly tall or small, size doesn’t really matter. A good luthier will be able to help you choose, but an even better resource would be a private instructor to help you decide. Good luck and thanks for watching!

Thank you sir, god bless. Looking forward to more of your amazing playing

Thanks so much Jason - for your knowledge and participation!

Thanks for watching and your comment is totally spot on. That was an oversight on my part - thank you for bringing this to light!

@@LearnJazzBasswithMattRybicki Absolutely not an oversight. Rather, it's a topic that deserves more air time.

Me too!

Sharing my experience, I noticed that after 30’-40’ of practice I need to wash my hands in super hot water. After a couple of minutes of this treatment, I can play for at least another hour and a half. Unfortunately I can’t play every day so I think it is not possible for me to increase training hours for now.

Ooh I don’t know this one! I’m gonna check it out ASAP!

Thank you too!

Thanks for watching!

Thank you!

Hello! It’s a method book that I wrote for the publisher Hal Leonard! www.matthewrybicki.com/method-book

非常感谢！ 1999年我有幸来到台北。我爱台湾！

Lol! Thanks so much!

Hi there thanks for your very kind words and for watching! What you're saying here is an amazing level of subtlety that's really so true. The idea that you presented really blew me away, sincerely. But let me push back just a touch: given a *binary* choice between notes and feel, for argument's sake, a listener will "forgive" wrong notes exponentially more than they would forgive bad feel. Broadly, I wasn't saying notes aren't important (I mean, I know you know I wasn't saying that) but rather that feel is often under-valued in the equation and note-choice is often overvalued. All that said, again, what you wrote is wonderfully observant. Thanks again!

@@LearnJazzBasswithMattRybicki Wow! Thanks for the kind words! I really love this discussion ;-). I actually agree with you 1000%. My comment was just intended as an amendment and not any critique at all. But I do think one can complicate this just a little bit at least. I really think that "myth#5" has a given place in a list of myths like this! If any one forced me to make this choice at gunpoint I would easily choose rhythtm/feel over notes any day of the week. But I guess my thought was: Is it actually ever going to be that binary in reality? Maybe rhythm is the destination and notechoices is a vehicle to get there? Maybe one can look at it that way? I have no idea, but I think about this a lot as this opened up things for me so much in my own playing.

@@linusklevebrant6006 Yes I totally understand and agree! I think the "myth" was (like the others, but especially this one) about sort of just reminding all of us to stay balanced with note vs. feel. Especially those players who are maybe just starting on the path, the note thing is so hard, it often becomes a priority "accidentally". So the "myth" is sort of just a reminder I guess. I really appreciate your thoughts on this, thanks for talking with me

Where, my friend?

Thanks so so much!

I appreciate that!

That’s awesome. Also it’s possible My transcription was wrong! I’m going to go back and check

Thanks so much!!

With pleasure! Thanks for watching

I’m sorry I don’t understand your question - could you rephrase it?

Neither F nor F# is not the seventh chord tone in a Cmaj7, that would be B. In this regard Matt is choosing his notes based on scales in relation to the chord material, not just the notes within the chord itself. Over this Cmaj7 he has picked the C Ionian scale (which is stated on the top of the digram), in which F is the fourth. The ionian scale is enharmonic to the C major scale: C-D-E-F-G-A-B, so F rather than F# which would be the raised 4. Cheers.

@@kristianstrmsholt9933 Thanks for responding to his question - I truly didn't understand what he was saying until you answered it! The phrase "chord tone" threw me off. I see by your response he must've meant "scale degree"

​@@LearnJazzBasswithMattRybicki No problem! Thank you for yet another great and very informative video.

You bet!

👍🏻

You’re welcome! Thanks for watching

Thanks so much! Sure I’ll Plan a video for talking about these alternate choices. But, in the meantime, there is a book that you should check out! roncarterjazz.com/products/chartography-reinvented-transcriptions

Hahahah oh wow thanks!

This was great Matt and for me very helpful in more than one way. I am still learning the instrument and chord types so having that visual chart as a way to imagine/plan walking flow and can double as a way for me to memorize chord tones (or triads as that is my current focus).

Great idea! And thanks man!

Thanks and for sure Footprints is on the list. The issue is that the turnaround is SO complicated once you start to investigate it, I always need more time to try and both fully digest it and try to make it palatable in a sort of summary - but it's on the list!

Glad it was helpful!

Hey man! Yes I remember totally. I want to use your name to say hi but don’t want to dox you haha. Thank you again for doing such a killer job last minute! I regret not having a chance to play more! Thanks for watching and your extremely kind words!

Haha thanks for watching and appreciating the mic thing. It’s actually Kind of hard to figure out! I’m still Working on getting the best sound. But that big mic in the face trend is a bit much I agree!

Thanks for watching and I hope that the other videos will be helpful!

Oh wow! How strange! Thank you for bringing that up!

You're welcome! Thanks for the request!

You bet!

@@LearnJazzBasswithMattRybicki It's a great lesson! I like the shift for the C to Bb. It's simple but opened up ideas for other shifts. Keep up the great work!

@davetuttle9701 nice! And thanks!

They're not LaBella they are Gerold Genssler Corax strings - I talk about them in my video here! th-cam.com/video/atGi5V70NQY/w-d-xo.htmlsi=VGz8qtTK7p-4FBnc

@@LearnJazzBasswithMattRybicki Thanks Maestro!

Thank you so much for your comment and question. This is ABSOLUTELY something I should've mentioned in the video. Great, great points. One definitely has to take a break if you're trying to do the long version of this. In general I just pause when it starts to get more than a little uncomfortable. I should've said that in the video. I would recommend actually doing it every day (or at least every practice day - but even if you do just this exercise as your daily thing it will warm you up). But you don't have to do the long version! Just do *some* amount of time and it should help!

Thank you for watching!

Thanks for watching and for your great question. It’s all good if you’re both playing the fifth - and in fact it’s pretty much fine for both of us to play the same thing at any point, with any note. It’s a question of degrees though. If in theory you’re always playing exactly what the bass plays then that’s going to sound weird. And for the bass to play the #11 for example in a passing moment is more than fine. It’s just a general approach - it’s like “*take into account* what the other person is playing”. If you’re playing a LOT of the same note choices that are chord tones it’s fine but will sounds little unsophisticated. If it happens in passing here and there it’s absolutely Part of the normal Course of things. Generally, though, it’s my understanding that you and a pianists voicings are going to, by default in more advanced language, contain a higher “percentage” of the extensions than chord tones. So if all parties are aware of and take into account the general approach of the other players (harmonically), we can make a more complete sound. This is all generalized though! And what I was saying in the video is too! Again it’s more like “consider what the other person will likely be doing and decide from there”. If a guitarist WANTS to play a lot of the same choices as the bass, there’s no real police that will show up! There’s no “real” serious consequences / other than someone else may or May not like your choices. I *would* ask though, most of all, please please please be aware that guitar (especially amplified guitar) has a ton of frequencies that interfere with the bass frequencies - making it even harder to hear the bass. Please take that into account!

@@LearnJazzBasswithMattRybicki So in short we can say: "everything is possible!" Thanks for your answer

@@erikpors9775 Hey again - I realized that I totally misread your question. I missed the "..can NOT play.."...so my new, hopefully clearer answer, is that 100% the bass player can (and probably will) play the 5th if you're not playing it. It will sound good if they do, in fact. Thanks again

With pleasure! Thanks for watching

Thanks for watching and commenting!

Grüße! Vielen Dank fürs Zuschauen und ich freue mich sehr, dass Sie es verstehen können. Hilft es, die Option für Untertitel zu aktivieren? Ist es möglich, die Bildunterschriften auf Deutsch zu lesen?

It works with the subtitles. Thank you.

In German.

Thanks!

Thanks - I would guess that your guess is as good as any! Though I'm not an expert in this particular kind of thing related to sound - if you are willing to share more thoughts I'd appreciate it

@@LearnJazzBasswithMattRybicki i have noticed when making videos the sound is slightly behing the video, which I attribute to the recording latency...and on occasion it can be a tad out of tune even on a perfectly intonated electric fretted bass, especially w/a room mic as opposed to direct feed, a bit of natural chorus/reverb occurs. btw your pdf set and videos are fantastic for a guy like me transitioning to upright at 67 years old.

@@TheBassfresh Ah I see, thanks for the insight and for your kind words!

Good ears - yeah, totally right. I sold my Upton a couple weeks ago and got this hybrid Shen - the size and shape is easier to manage, though the Upton sounded excellent. And yes these are Spiro mediums! I’ve come full circle from where I started 30 years ago haha. But sincerely, I’m not sure if I will Keep them on - I’m still figuring out the right strings for this bass. One thing of course is that they bow like a dream…an interesting phenomenon to me is that so far I’m feeling like the result is the opposite of expected. Usually the sound you hear as the player is not as good as out in front. But hearing these recorded, I’m noticing that like the sound under my ears better than what’s in front. Thanks for noticing, watching, and asking!