Great video and concept. The melodic minor is basically a major blues scale with the blues note (minor 3rd) replacing the major 3rd and a major 7th added.
I love how you explained this as "that sound" because thats literally how I feel about it. What is that sound I hear however enable to replicate when I improvise. Thank you Janek
@JANEK, good VID, ! -> V7- 1 -- Here is one i am certain you know . Keith Jarret ( standards 1 ) Meaning of the Blues. - 2-5-1 in Minor. What Jarrett playas is beyond. SO simple and 3 note L Hand Voicing and verging on BACK like turnaround . Staggering, I know you know. You will know it ---its is few notes and simple,. Dejohnette is sparse and the inevitable occurs with magic dust via Jarrett. Stunning , music history"s great moments. Space, tone, Time, vibe and much more the genius of Jarret so much than *JUST* notes.... You know the version i am sure.
Just curious, have you been using that bass for the recent lesson videos as to not scare/confuse people by having a high c string or have you just felt like using that one?
It's a little of both, but the response to not playing a high-C when making videos like this has been very positive. I think it helps people to see this kind of playing is available to them no matter what kind of instrument they have.
Great! And that moment will come without you even noticing it. It's like losing weight... you work at it little by little and don't notice the difference every day. But someone says to you "hey, you look great. Did you lose some weight?" and boom. You're in it before you know it.
Where I get confused is the second half of the scale. The first half makes sense to me: The root is obvious, the flat and sharp nine are what you get when the nine is altered, and the major third is obvious. Past that, I get confused about how players make the decision if there's a natural 5 and a 13 in there vs flatting them both. I know written chords can imply which it is, but so much of jazz is about understanding that exact chords are often merely guidelines and it's more about the root movement and tone centers. I suppose it just comes down to opening one's ears and keeping at the playing.
It's 100% about listening first and understanding later. There are differences between the sounds of the chord you mentioned with a natural 5 and 13, and then the flat version of that. The key to an altered chord or scale is that it doesn't have a natural 5th. When you know that, the choice is simple, and the sound is very specific.
The sound of the major sixth note in the melodic sounds is a bit out but I keep trying with the pad via on your site . I m trying on my loop station too improvise over progression.
I was transcribing a little of the Brecker line at the beginning. So from what there is,it sounds like a minor blues in E flat, but when it goes to the 4, which is A flat minor, Brecker plays a line in A minor and then down to A flat minor,am I correct,or am I hearing things?
I think it's a minor blues in D, but either way, there are many instances of taking something up a half step and then resolving down when changing tonalities or moving to a new chord. It's a pretty common tool in improvisation.
Brilliant! Great explanation from a great guy. I've started getting my fingers and, more importantly, my ears around this sound thanks to this video. Keep up the good work Janek.
I absolutely love your lessons! I came to your master class in Bournemouth the other day (was slightly blown away that one of my idols was doing that just up the road!) Unfortunately I was very hungover so I kept quiet and didn’t ask any questions. Trying to take the plunge into learning reading and theory and your videos really help, so thank a lot! 1 question- I often have the age old problem where as soon as I go to take a solo, most of the band stop playing so it’s very hard to play “out” as there’s little to no reference. Do you have any advice for trying to make solos interesting melodically, or do you just have to keep it straight?
Communicate to the band that they had better not leave you alone when it comes to a solo. Request specific comping from the keyboard player for instance, maybe even asking them to play more low-end with the left hand to compensate for your role not being 100% filled as a bass player while you solo. Never let them hang you out to dry. It's a massive cop out on their part, and you shouldn't be afraid to speak up. Also... listen to victor wooten play completely solo. He's the master at keeping all the balls in the air no matter what the band do, AND keeping the audience dancing.
Janek is the bass teacher I needed right now. Brilliant stuff here, I'm re-starting my ii V I journey thanks to your books. I just bought your comprehensive eBook collection. When will the play along material be migrated to its new home?
Absolutely. Although I do come from a brief classical guitar background, that was over 30 years ago. I've been doing almost everything without an instructor every since.
Hey Janek! I tried to order a signed ii V i copy from your website, and it says that they can’t be delivered to the UK? Any suggestions? I’m keen to get my hands on one!
Absolutely! You just have to go to the international shipping page: janekgwizdala.com/store/p/bass-players-guide-to-pentatonics-signed-print-copies-4dyrp-8xgt9
Let's see if I can summarise what I learned correctly. On a chord progression with a major dominant 1, when playing over the 5 you can go half a step up and solo on the harmonic minor scale. It will get you that typical jazz sound. You also talked about this unlocking some triads that can be used, I guess I would get them by studying the harmonic minor scale.
So let's break down the question. 1. No need to say Major and Dominant for a chord. All dominant chords have a major third in them. 2. It's Melodic Minor not Harmonic. 3. Yes! There are always triads available on each degree of any scale, so the Melodic Minor is no different in that regard. You build a triad from any degree, giving it some kind of 3rd and some kind of 5th, drawing from the notes diatonic to that scale. Appreciate you watching the video and taking time to leave a comment/question. Good luck. and happy practicing!
Thanks for the answer ! 1. I had a feeling I was trying to be too specific, thanks for the clarification. 2. Wow, I know its melodic and not harmonic. I was typing too fast and feel dumb now haha 3. Would any triad in this melodic minor key fit with the 5 of the 2-5-1 song ? I know you said to not worry about the theory too much in the video but I can't help it ! A year ago nothing in this video would have made sense to me, but recently I have been doing my best to get better with theory. I still have a lot of gaps to fill but I am getting there. I really appreciate your videos, it keeps my brain working !@@janekgwizdala
It's all good. Go at your own pace, and don't feel any pressure to be anywhere but where you are right now. Go to the basics and try and grasp the major scale example first. If you can play a major scale, you're a millimeter away from nailing the entire concept. It just takes time to go from major scale to melodic minor scale, and then contextualize the sound by playing that melodic minor sound over the dominant chord a half step down.
Who makes those tapewounds you're using? I've been thinking of trying a set... Can tapewounds make a cheap bass easier to play than flatwounds? When do you recommend tapes over flats? Thanks in advance? Peace y'all. 🙏✌️✨
These are a set of D'Addario's that have been on the bass over a decade. It's all very personal and about the feel I think. There's no right or wrong time to use them, you just have to experiment and figure out what works when for you.
Great video and concept. The melodic minor is basically a major blues scale with the blues note (minor 3rd) replacing the major 3rd and a major 7th added.
I love how you explained this as "that sound" because thats literally how I feel about it. What is that sound I hear however enable to replicate when I improvise. Thank you Janek
Totally agree, fantastic tutorial
@JANEK, good VID, ! -> V7- 1 -- Here is one i am certain you know . Keith Jarret ( standards 1 ) Meaning of the Blues. - 2-5-1 in Minor. What Jarrett playas is beyond. SO simple and 3 note L Hand Voicing and verging on BACK like turnaround . Staggering, I know you know. You will know it ---its is few notes and simple,. Dejohnette is sparse and the inevitable occurs with magic dust via Jarrett. Stunning , music history"s great moments. Space, tone, Time, vibe and much more the genius of Jarret so much than *JUST* notes.... You know the version i am sure.
What was the outro music??.... sounded great!
Thank you Janek. great content, straight to the point.
Just curious, have you been using that bass for the recent lesson videos as to not scare/confuse people by having a high c string or have you just felt like using that one?
It's a little of both, but the response to not playing a high-C when making videos like this has been very positive. I think it helps people to see this kind of playing is available to them no matter what kind of instrument they have.
@@janekgwizdala makes sense!
Thank you Janek. It's really motivating for me. Even if I feel thousands miles away of the "not thinking of it" moment.
Great! And that moment will come without you even noticing it. It's like losing weight... you work at it little by little and don't notice the difference every day. But someone says to you "hey, you look great. Did you lose some weight?" and boom. You're in it before you know it.
Where I get confused is the second half of the scale.
The first half makes sense to me: The root is obvious, the flat and sharp nine are what you get when the nine is altered, and the major third is obvious.
Past that, I get confused about how players make the decision if there's a natural 5 and a 13 in there vs flatting them both. I know written chords can imply which it is, but so much of jazz is about understanding that exact chords are often merely guidelines and it's more about the root movement and tone centers. I suppose it just comes down to opening one's ears and keeping at the playing.
It's 100% about listening first and understanding later. There are differences between the sounds of the chord you mentioned with a natural 5 and 13, and then the flat version of that. The key to an altered chord or scale is that it doesn't have a natural 5th. When you know that, the choice is simple, and the sound is very specific.
Janek: "It's so simple." Also Janek: 4:44 😂 Seriously though, this is brilliant.
These videos where you show a concept/exercise about a topic from one of your books is great. Thank you.
Maybe one of the best of your teaching videos..... On point, heart felt
I realy like these kind of lessons. Got your Chord and the Giant Steps books, but it is always good to take ‘a step back’. Thank you so much.
Will need to pause and rewind si much I may break youtube 😂😂😂😂
The sound of the major sixth note in the melodic sounds is a bit out but I keep trying with the pad via on your site . I m trying on my loop station too improvise over progression.
Janek, are those tapes or flats? I'm guessing tapes but can't tell on the laptop (need to grab my headphones...)
Tapes. Old set of D'Addario's that have been on this bass for almost 15 years.
Glad to see that you've ramped up your posting frequency again.
Yes! I own that book and It helped a lot to get a musical approach to altered chords!
Thanks Janek - great lesson!
Thanks, good stuff.
This is fantastic, thank you!
Another fantastic lesson! guy, Janek should already have 200k followers minimum
The moving background thing is brilliant for your video podcasts. For this, the moving background gives me sea sickness. Just a note.
I was transcribing a little of the Brecker line at the beginning. So from what there is,it sounds like a minor blues in E flat, but when it goes to the 4, which is A flat minor, Brecker plays a line in A minor and then down to A flat minor,am I correct,or am I hearing things?
I think it's a minor blues in D, but either way, there are many instances of taking something up a half step and then resolving down when changing tonalities or moving to a new chord. It's a pretty common tool in improvisation.
Well then the recording is a half a step sharp,grab your axe and check it out for yourself.
Brilliant! Great explanation from a great guy. I've started getting my fingers and, more importantly, my ears around this sound thanks to this video. Keep up the good work Janek.
Thanks for the musical enlightenment.. You my friend are a Song Smith
Thank You Janek. I"m going to check your books on your webpage. Stay safe.
You are a great teacher.
This is so relevant to me right now - really appreciate!
I absolutely love your lessons! I came to your master class in Bournemouth the other day (was slightly blown away that one of my idols was doing that just up the road!) Unfortunately I was very hungover so I kept quiet and didn’t ask any questions. Trying to take the plunge into learning reading and theory and your videos really help, so thank a lot! 1 question- I often have the age old problem where as soon as I go to take a solo, most of the band stop playing so it’s very hard to play “out” as there’s little to no reference. Do you have any advice for trying to make solos interesting melodically, or do you just have to keep it straight?
Communicate to the band that they had better not leave you alone when it comes to a solo. Request specific comping from the keyboard player for instance, maybe even asking them to play more low-end with the left hand to compensate for your role not being 100% filled as a bass player while you solo.
Never let them hang you out to dry. It's a massive cop out on their part, and you shouldn't be afraid to speak up.
Also... listen to victor wooten play completely solo. He's the master at keeping all the balls in the air no matter what the band do, AND keeping the audience dancing.
Janek is the bass teacher I needed right now. Brilliant stuff here, I'm re-starting my ii V I journey thanks to your books.
I just bought your comprehensive eBook collection. When will the play along material be migrated to its new home?
We're about 90% there with all the material. You can check it out here: janekgwizdala.com/book-videos
Is it possible to learn/apply without an instructor? I know Janek is classically trained, which gave him a jump.
Absolutely. Although I do come from a brief classical guitar background, that was over 30 years ago. I've been doing almost everything without an instructor every since.
Hey Janek! I tried to order a signed ii V i copy from your website, and it says that they can’t be delivered to the UK? Any suggestions? I’m keen to get my hands on one!
Absolutely! You just have to go to the international shipping page: janekgwizdala.com/store/p/bass-players-guide-to-pentatonics-signed-print-copies-4dyrp-8xgt9
Super video. A new clue into a brand new world!
very inspiring video! Thanks, Janeck!
Is the playback audio free with the purchase of the books
Yes. The books come with play alongs and videos.
Great video. Very encouraging 👏🏿
Thanks for sharing also, can you share what tyoe pedal you were using if any?
I was using a tiny bit of reverb from the Helix Rack. It's the same one I use in the HX Stomp in my main pedalboard.
@@janekgwizdala Thanks watching your HX Stomp video now.
Love your channel Janek , one of the best.
Let's see if I can summarise what I learned correctly. On a chord progression with a major dominant 1, when playing over the 5 you can go half a step up and solo on the harmonic minor scale. It will get you that typical jazz sound. You also talked about this unlocking some triads that can be used, I guess I would get them by studying the harmonic minor scale.
So let's break down the question.
1. No need to say Major and Dominant for a chord. All dominant chords have a major third in them.
2. It's Melodic Minor not Harmonic.
3. Yes! There are always triads available on each degree of any scale, so the Melodic Minor is no different in that regard. You build a triad from any degree, giving it some kind of 3rd and some kind of 5th, drawing from the notes diatonic to that scale.
Appreciate you watching the video and taking time to leave a comment/question.
Good luck. and happy practicing!
Thanks for the answer !
1. I had a feeling I was trying to be too specific, thanks for the clarification.
2. Wow, I know its melodic and not harmonic. I was typing too fast and feel dumb now haha
3. Would any triad in this melodic minor key fit with the 5 of the 2-5-1 song ? I know you said to not worry about the theory too much in the video but I can't help it !
A year ago nothing in this video would have made sense to me, but recently I have been doing my best to get better with theory. I still have a lot of gaps to fill but I am getting there. I really appreciate your videos, it keeps my brain working !@@janekgwizdala
Wonderful lesson as always Janek!
This one is great. Thank you.
this is somewhat complicated for a noob like me :P
It's all good. Go at your own pace, and don't feel any pressure to be anywhere but where you are right now.
Go to the basics and try and grasp the major scale example first. If you can play a major scale, you're a millimeter away from nailing the entire concept. It just takes time to go from major scale to melodic minor scale, and then contextualize the sound by playing that melodic minor sound over the dominant chord a half step down.
Great!
Are using an "Edelkrone" camera slider ?
It’s by GVM
Uh! Thank you!!
Great video, those strings are labella black???? Thanks
These are old D'Addario's that have been on this bass for almost 15 years
@@janekgwizdala me encanta su sonido!!!!
Fantastic video ❤
Who makes those tapewounds you're using? I've been thinking of trying a set... Can tapewounds make a cheap bass easier to play than flatwounds? When do you recommend tapes over flats? Thanks in advance? Peace y'all. 🙏✌️✨
These are a set of D'Addario's that have been on the bass over a decade. It's all very personal and about the feel I think. There's no right or wrong time to use them, you just have to experiment and figure out what works when for you.