I’d love to watch a video about the flow/direction of walking basslines. Like, when would continue going up/down? When would you turn it around? Would help a beginner like me 🙃
Hey there - thanks for your message. This is an interesting idea - I'll give it thought for sure. In one way, though, there's a very simple answer which is that direction is entirely up to you. The more important thing (besides the feel) is the notes/melody that you're creating. But i'll still think about a way to maybe say more about this. In the meantime, let me direct you to 2 vids I've done that I think address at least part of what you're talking about: th-cam.com/video/6BNw0HNWY1s/w-d-xo.htmlsi=EYlA-GLlticTxSv7 and also th-cam.com/video/n7f9hWH0Yxs/w-d-xo.htmlsi=Q3kU6u6mBzTbuYDB I hope that this helps
This is awesome 🙌🏻. Thanks a lot Matt. May I send you a video of me playing a standard with my band (Golden Era Groovers)? I’m really interested in your thoughts about it.
Hey Matt, great lesson as always. I'm a big fan - i have your Ray Brown as well as your method book AND your PDF collection. I was considering your new course but am really interested in a course dedicated to soloing. Is anything like this in the works?
Wow! I knew you had gotten some things but not all that. Thank you so much for your support. I’m honored that you’ve trusted me this way. And yes, the soloing thing has been missing from my videos here and I wanted to rectify that. Your message is a real kick in the pants to get on some courses for that too. (Probably more one at a time rather than 5 at once 😂). Thanks for the support and the impetus to move forward on this
@@LearnJazzBasswithMattRybicki glad to hear it's on your radar. I realize this is a difficult subject to write about. I think as an intermediate player I'm comfortable with walking using chord tones, approach notes etc. I think perhaps approaches around bebop solo language , perhaps getting upper structure sounds, etc. Triad pairs, quartal sounds. Some more advanced stuff i guess. I really liked your 3 part series on rhythmic displacement
@@bassomatic6055 ok you’re going right for the jugular hahaha. Just even knowing to use those terms properly makes me think you probably have what you need already!! That said, I’ll see if I can come up with some things to offer!
@@LearnJazzBasswithMattRybicki i can talk a good game but up to now I've been focused on walking decent lines. I think a well thought out sequence of practice material in the area of soloing would be invaluable, though I suppose the best answer is to transcribe horns.
Hey there this would be your E minor (relative G major)
หลายเดือนก่อน +1
Thanks a lot! there's something I still don't understand about jazz standards. Are they in a specific concert pitch? Or does every artist play them on whatever pitch they want? For example autumn leaves, how do I know the "original" pitch of the composition?
Well first, there's a slight difference (or can be, with language) between "American Songbook" standards, like Autumn Leaves and "jazz standards" like stuff from Thelonious Monk, Miles Davis, Wayne shorter etc. If it's a tune like "all the things you are" or "Autumn Leaves" or "Someday My Prince Will Come", you could go to the original published sheet music from the 1920s, 30s, etc. That's one way. BUT, that may not even be the actual key that it was originally performed in in a movie or Broadway show etc. So often it's nearly impossible to new the true FIRST key of a song. When you have an America Songbook standard that's so popular like the ones I mentioned above, generally there can be a few recordings that MOST people reference. "Autumn Leaves" is a great example of one that often has confusion - some people think of the "regular" way as concert G minor, some people think E minor (I think)? It depends on which recording they think of as "definitive." So, in that case, it's good to keep your ears open to learning that there's a couple keys people can call the tune in. "On Green Dolphin Street" is another one. Lots of time people do it in C, but Miles Davis and many of us play it in Eb concert. Now a tune like "Well You Needn't" from Monk or "Fee-Fi-Fo-Fum" from Wayne Shorter - you can go right back to hear the very first recordings of those and it's easier to find actual notated examples of stuff from closer to our time period. Plus they can be really complicated harmonically, so it's really HARD to do them in other keys. So "newer" more "complex" tunes tend to be in one key only. To answer the other part of your question, though, yes, you and anyone can do ANY song in ANY key. Most singers typically do songs in other keys than the instrumental versions, for example. Very common to have to transpose a Songbook standard to another key for a singer. Some people also put stuff in other keys because it has a different sonic quality in another key to the musicians' or listeners' ears.
หลายเดือนก่อน +1
@@LearnJazzBasswithMattRybicki That was very clarifying. You see, here in Mexico, like in many other countries, jazz is not an "alive language", it is a genre that is not played or listened on the average day. We, are curious about jazz when we want to study harmony and improvisation but there is no "first hand" information that we can access to. There are some clubs and concerts of local jazz players but they do imitate what their understanding tells them jazz is, and that is because jazz is not a mexican music. However, there have been many musicians benefited from learning jazz Harmony and improvisation who use this knowledge on cumbia, salsa, corrido, etc. That's the reason I didnt understand jazz standards, but as I see, they have a similar existence to "canciones". A song in Mexico is popularized by an artist and it is versioned many times in the key of its most famous recording. But it can be played in another key or reharmonized in search of a more interesting color
Oscillating between straight (4/4) and swing/triads (6/8): Gnawa again (African blues root music of Morocco). I’ve found an English documentary: th-cam.com/video/Ti1Nqaju4lY/w-d-xo.htmlsi=F6l6PQ1nXXycXO5R
@@DirkMetall Thanks I enjoyed watching that. It taught me more than I knew already. I had listened a lot to this Pharoah Sanders’ album with Gnawan musicians playing in this traditional style. Very cool to know more about it
Многие из PDF-файлов, которые я раздаю бесплатно, содержат версии одних и тех же примеров в формате TAB. Кто-то также мог просто попросить их, если они им нужны.
I'm so glad I came across this video. I love the analysis and you do a fantastic job explaining concepts. Very clear and concise. Thank you!
Welcome! Thanks for watching and for your kind words
Thank you so much, you're a fantastic teacher. Your content is always so useful and relevant.
Thanks for your kind words - I'm glad that it's helpful!
You have no idea how much I get excited when your TH-cam notification pops up. Awesome analysis as always.
Wow what a nice thing to hear! Thanks and I’m so glad I can be helpful
No noise, just useful friendly coaching.
That’s what I’m shooting for, so thank you for your comment 🎶🎶
I enjoyed your analysis of the lines. It made me like his bassline more. Thanks!
Thank you for your kind words, and I'm glad it brought some interest and enjoyment :)
Always love that double chromatic sound from above.
Me too!
Thanks for doing this lesson! Super great!
@@derrick-siyu-zhang thank you!
I was working on this the last couple of weeks but didn't have the full transcription. Perfect timing, thank you Matt.
You're most welcome :)
Fantastic for learn this tune thank you
Where is possible to find the backing track ?
Thank you for all
Thank you for watching. The music is the actual recording itself from the album “Somethin’ Else”
New to the channel, love the content.
@@mxr255 welcome! And thank you so much
Awesome.
Thanks man
I’d love to watch a video about the flow/direction of walking basslines. Like, when would continue going up/down? When would you turn it around? Would help a beginner like me 🙃
Hey there - thanks for your message. This is an interesting idea - I'll give it thought for sure. In one way, though, there's a very simple answer which is that direction is entirely up to you. The more important thing (besides the feel) is the notes/melody that you're creating. But i'll still think about a way to maybe say more about this. In the meantime, let me direct you to 2 vids I've done that I think address at least part of what you're talking about: th-cam.com/video/6BNw0HNWY1s/w-d-xo.htmlsi=EYlA-GLlticTxSv7 and also th-cam.com/video/n7f9hWH0Yxs/w-d-xo.htmlsi=Q3kU6u6mBzTbuYDB I hope that this helps
@@LearnJazzBasswithMattRybicki Thank you for this!
20 minutes in you can tell Sam had clearly been watching some TH-cam tutorials on how to use chromatic notes to "jazz" up your sound in minutes
This is awesome 🙌🏻. Thanks a lot Matt. May I send you a video of me playing a standard with my band (Golden Era Groovers)? I’m really interested in your thoughts about it.
Hey Danilo :) Yes of course - thanks as always
always remember.. straight ahead, and strive for sometimes the locrian out of nowhere.. because why not :)
Haha well done
@LearnJazzBasswithMattRybicki :)
Hey Matt, great lesson as always. I'm a big fan - i have your Ray Brown as well as your method book AND your PDF collection. I was considering your new course but am really interested in a course dedicated to soloing. Is anything like this in the works?
Wow! I knew you had gotten some things but not all that. Thank you so much for your support. I’m honored that you’ve trusted me this way. And yes, the soloing thing has been missing from my videos here and I wanted to rectify that. Your message is a real kick in the pants to get on some courses for that too. (Probably more one at a time rather than 5 at once 😂). Thanks for the support and the impetus to move forward on this
Oh and also - could you share something about what you yourself feel would be helpful to hear about soloing?
@@LearnJazzBasswithMattRybicki glad to hear it's on your radar. I realize this is a difficult subject to write about. I think as an intermediate player I'm comfortable with walking using chord tones, approach notes etc. I think perhaps approaches around bebop solo language , perhaps getting upper structure sounds, etc. Triad pairs, quartal sounds. Some more advanced stuff i guess. I really liked your 3 part series on rhythmic displacement
@@bassomatic6055 ok you’re going right for the jugular hahaha. Just even knowing to use those terms properly makes me think you probably have what you need already!! That said, I’ll see if I can come up with some things to offer!
@@LearnJazzBasswithMattRybicki i can talk a good game but up to now I've been focused on walking decent lines. I think a well thought out sequence of practice material in the area of soloing would be invaluable, though I suppose the best answer is to transcribe horns.
Sam Jones, great! But I still haven't been able to fully memorize the Ray Brown blues... 🤔
You can do it! :)
@@LearnJazzBasswithMattRybicki Been weeks, still screwing it up... 😂
@ 😂
What key should i play this tune if i am an alto (eb) sax player?
Hey there this would be your E minor (relative G major)
Thanks a lot! there's something I still don't understand about jazz standards. Are they in a specific concert pitch? Or does every artist play them on whatever pitch they want?
For example autumn leaves, how do I know the "original" pitch of the composition?
Well first, there's a slight difference (or can be, with language) between "American Songbook" standards, like Autumn Leaves and "jazz standards" like stuff from Thelonious Monk, Miles Davis, Wayne shorter etc. If it's a tune like "all the things you are" or "Autumn Leaves" or "Someday My Prince Will Come", you could go to the original published sheet music from the 1920s, 30s, etc. That's one way. BUT, that may not even be the actual key that it was originally performed in in a movie or Broadway show etc. So often it's nearly impossible to new the true FIRST key of a song. When you have an America Songbook standard that's so popular like the ones I mentioned above, generally there can be a few recordings that MOST people reference. "Autumn Leaves" is a great example of one that often has confusion - some people think of the "regular" way as concert G minor, some people think E minor (I think)? It depends on which recording they think of as "definitive." So, in that case, it's good to keep your ears open to learning that there's a couple keys people can call the tune in. "On Green Dolphin Street" is another one. Lots of time people do it in C, but Miles Davis and many of us play it in Eb concert. Now a tune like "Well You Needn't" from Monk or "Fee-Fi-Fo-Fum" from Wayne Shorter - you can go right back to hear the very first recordings of those and it's easier to find actual notated examples of stuff from closer to our time period. Plus they can be really complicated harmonically, so it's really HARD to do them in other keys. So "newer" more "complex" tunes tend to be in one key only. To answer the other part of your question, though, yes, you and anyone can do ANY song in ANY key. Most singers typically do songs in other keys than the instrumental versions, for example. Very common to have to transpose a Songbook standard to another key for a singer. Some people also put stuff in other keys because it has a different sonic quality in another key to the musicians' or listeners' ears.
@@LearnJazzBasswithMattRybicki
That was very clarifying. You see, here in Mexico, like in many other countries, jazz is not an "alive language", it is a genre that is not played or listened on the average day.
We, are curious about jazz when we want to study harmony and improvisation but there is no "first hand" information that we can access to. There are some clubs and concerts of local jazz players but they do imitate what their understanding tells them jazz is, and that is because jazz is not a mexican music.
However, there have been many musicians benefited from learning jazz Harmony and improvisation who use this knowledge on cumbia, salsa, corrido, etc.
That's the reason I didnt understand jazz standards, but as I see, they have a similar existence to "canciones". A song in Mexico is popularized by an artist and it is versioned many times in the key of its most famous recording. But it can be played in another key or reharmonized in search of a more interesting color
Oscillating between straight (4/4) and swing/triads (6/8): Gnawa again (African blues root music of Morocco). I’ve found an English documentary: th-cam.com/video/Ti1Nqaju4lY/w-d-xo.htmlsi=F6l6PQ1nXXycXO5R
@@DirkMetall Thanks I enjoyed watching that. It taught me more than I knew already. I had listened a lot to this Pharoah Sanders’ album with Gnawan musicians playing in this traditional style. Very cool to know more about it
вы принципиально не показываете табы? Чтобы у вас учился играть только тот кто это уже умеет делать? Или вы показываете как круто играете вы?
Многие из PDF-файлов, которые я раздаю бесплатно, содержат версии одних и тех же примеров в формате TAB. Кто-то также мог просто попросить их, если они им нужны.
@@LearnJazzBasswithMattRybicki ага понял, спасибо за труд