It's not too hard learning the scales, it's just the phrasing that can be tricky. Playing certain patterns so it doesn't sound like you are just playing the scales up and down over the progression. I still struggle with that one a bit.
I agree, biggest challenge is to contemporarily use the knowledge and be musical, lyrical at the same time. Maybe we should practice this first without the bass, but singing instead!
It’s definitely tough to try and remember this kind of knowledge while playing over jazz changes and at the same time being free and expressing melodic ideas rather than barfing our scales. Practicing this stuff and mixing it up with arpeggios is a great way to get there and of course taking ideas from your favorite musicians at the same time. I struggle with this daily, especially since I’m more of a prog rock player rather than a jazz musician. Stay funky my friends 😎
I'm an absolute beginner. After I practice a scale and begin to become comfortable with the pattern and expectant of the sound of it, I fool around with the timing and moving back and forth between parts of the scale. I start to " hear" basslines. Like when I play a major pentatonic scale I hear the baseline for Turn Back The Hands of Time, old Motown. So I practice the scales every day but I play around with them and finds grooves and practice those too. I decided to learn the scales in this lesson before going on.
I think the most important thing to understand when it comes to phrasing, is the rhythm, strong beats (1-3) and weak beats (2-4) and how to play around the chords so that you always "imply" or "demand" the next chord with your phrases. It's explained and demonstrated fairly well in this video at 32:30: th-cam.com/video/b-MV2GyKPlo/w-d-xo.html Understanding it conceptually isn't really enough. The way I learned it (not that I've mastered it, but I have some grasp of how to do it) was by learning the bass parts note to note in my favorite songs. Once you learn a bunch of them, it'll be easier to figure out exactly how they work so you can come up with your own. And it's best if you do it by ear... so that you can later "hear" whatever it is you want to play in your head. You'll also get a sense of how the scales are applied into phrases. I hope this helps.
4 ปีที่แล้ว +17
Gotta be the best and coolest free lesson from you in a while. Scott! Gee - uuh! This is an invaluable tip on elegant jazzy harmony. Thanks!
Holy ... I was laughing so hard with your phrasing man. At the end of the 'just one more time' i was clapping gratefully. I was already using superlocrian on the dominants, but the IVth mode but on the root and using just the VI but instead of natural, using melodic.... that's so much good stuff in there. Holy again ... now I need to practice this all over the neck (ugh the juicy pain). Thank you Mr. Devine.
The half step, whole step diminished did the same thing for me. Then came the melodic minor. But my brain doesn't like thinking Ab when playing G, so I see G scale with b9 b5 #5 etc. Huge benefit is the areas between scale or pentatonic boxes get filled-in when playing with these altered scales--then *bingo* the whole fingerboard opens up! Wish I knew this when I was a youngster!
YES! This is what I love about you and your team, Scott. A great balance between all the levels. I'd love to see more of this advanced stuff. Keep the non-traditional scales and modes coming. PS say hi to Ian for me.
This is so good, thank you! I also noticed that the reason many of these sound 'right' is because they use the whole tone scale within the diatonic context (Eg the F, G sharp in C major). That's another helpful way to think about it!
I will add this to my vocabulary today... Thank you 😊 I used to feel inadequate when someone told me they studied music at Berkeley.. now I just tell them I study with SBL 😎👊
Wow, stellar lesson there. I haven't seen Scott enthusiast like that in a while also, it's refreshing ! Also for those wondering, this altered scale can be constructed as a Locrian scale with a flat 4th (if I'm not mistaken)
Hey Scott, love the lesson. Thanks for breaking down the melodic minor. Whenever I look at that scale, modes included, I get turned upside down on how to implement it in my playing. You're systematic approach really helps. It looks like you took a couple of pointers from Rich Brown's lesson on superimposing modes as well. That's a sign of a true teacher: always learning something new. Take care, Scott.
Thank you very much for your lessons! I have a request: Please, please, please make a breakdown of „Close to me“ from Bill Withers with the cool Jerry Knight bassline
I'm a new subscriber to the channel and I thoroughly enjoyed this video. Music theory opens a lot of doors when it is made accessible, I appreciate how you put this together. Thank you!
@@bap6te557 that and the fact that now students have access to detailed videos with all the info and savoir-faire of concepts that used to take a lot of time to sink in, now they are accesible and if the student is guided by a teacher, content like Scott's is pure gold
@@andreypopov2776 Technically, yes they are, but in the context of the scale B would be a #2. The correct way of writing the flat 3rd in this scale would be C flat.
Can you increase the volume of your bass in these videos? Your voice is clear and loud which is great, however, turning up the volume to better hear your playing wakes the neighbors when you speak 😂 I love what you are doing with these bass lessons and I thoroughly enjoy your enthusiasm and passion for the instrument. Keep it going man, you're a positive influence in this crazy world and I for one appreciate your efforts.
Hi Scott,when you play lines that way are you thinking of where the notes are located and various patterns that will sound good or are you thinking of each note name as you're playing? I can't do the latter if playing fast,even though I can name any note I stop on.My brains not fast enough so I play more by identifying intervals,shapes and muscle memory.Is that a mistake learning that way? Nice lesson.
This was the PERFECT video! Awesome topic, explanations, and the video editing majorly contributed to how awesome this was 😎! Also what pedals were you using?
@Punch Down King bear in mind that I am someone who has a reasonable understanding of modes and scales. If I found it as unclear as I did, then anyone with less grasp of music theory than me won't stand a chance here. If it's all the same scale, then why obfuscate with referring to it in different ways? Find ONE term to refer to the scale you are using, ideally the simplest one, and then just call it that. If you are playing in the key of C chordwise, then don't call the set of notes you are using "D Dorian". Just call them "the notes of the C major scale". Because when you are playing an actual bassline, you aren't "starting on" a note and then playing a scale from it, you are selecting from a set of notes available to you.
@Punch Down King and I just went back and watched it again. The Ab melodic minor scale is not just a note or two different to the C major/D Dorian, it's a totally different scale. I am not imagining that he's using multiple scales here.
Actually, it’s not difficult to understand. He is discussing the “GAltered” scale, and attempting to explain it to people who do not have formal study in Music Theory. It is an ascending melodic minor scale based on the Neopolitan.
"You can simply think of the G Altered scale as an Ab melodic minor scale". Of course, it all makes sense now! Good vid, but my head is spinning from all the scales.
I’ve recently got a subscription to SBL. So far I’m enjoying it, but I gotta say, there’s so much more that I never knew and find it absolutely overwhelming at times. 😞 Especially when he was talking about the players path section. I got 3 levels in a month, and in one of the videos later on he talks about taking approximately 16 weeks for per level. It broke my heart! Lol But I’m still learning more than I ever have nonetheless.
Hi Dude Scott, formidable playing and lesson on 2-5-1 with awesome treatment on the progression. Again thank you for being there sharing your valuable knowledge on the most incredible instrument of all, ha, ha, *the Bass*. Cheers
Question - I noticed you are referencing the ascending melodic minor and didn’t mention how the descending melodic minor is the same as natural minor (Aeolian) is this because it is actually the g altered scale that you are describing as a melodic minor? Or to simplify a little for the video?
I really like the notes typed out above the fretboard when Scott was playing, great touch.
Scott, you are amazing! I have been playing bass going on 50 years and I still find your lessons invaluable. I wish you were around when I was 20.
It's not too hard learning the scales, it's just the phrasing that can be tricky. Playing certain patterns so it doesn't sound like you are just playing the scales up and down over the progression. I still struggle with that one a bit.
I agree, biggest challenge is to contemporarily use the knowledge and be musical, lyrical at the same time. Maybe we should practice this first without the bass, but singing instead!
It’s definitely tough to try and remember this kind of knowledge while playing over jazz changes and at the same time being free and expressing melodic ideas rather than barfing our scales. Practicing this stuff and mixing it up with arpeggios is a great way to get there and of course taking ideas from your favorite musicians at the same time. I struggle with this daily, especially since I’m more of a prog rock player rather than a jazz musician. Stay funky my friends 😎
I hear you! Gotta figure out how to make them sing. So yeah, phrasing is much harder than just the positions up and down. Singing along helps a lot.
I'm an absolute beginner. After I practice a scale and begin to become comfortable with the pattern and expectant of the sound of it, I fool around with the timing and moving back and forth between parts of the scale. I start to " hear" basslines. Like when I play a major pentatonic scale I hear the baseline for Turn Back The Hands of Time, old Motown. So I practice the scales every day but I play around with them and finds grooves and practice those too. I decided to learn the scales in this lesson before going on.
I think the most important thing to understand when it comes to phrasing, is the rhythm, strong beats (1-3) and weak beats (2-4) and how to play around the chords so that you always "imply" or "demand" the next chord with your phrases.
It's explained and demonstrated fairly well in this video at 32:30:
th-cam.com/video/b-MV2GyKPlo/w-d-xo.html
Understanding it conceptually isn't really enough. The way I learned it (not that I've mastered it, but I have some grasp of how to do it) was by learning the bass parts note to note in my favorite songs.
Once you learn a bunch of them, it'll be easier to figure out exactly how they work so you can come up with your own. And it's best if you do it by ear... so that you can later "hear" whatever it is you want to play in your head.
You'll also get a sense of how the scales are applied into phrases. I hope this helps.
Gotta be the best and coolest free lesson from you in a while. Scott! Gee - uuh! This is an invaluable tip on elegant jazzy harmony. Thanks!
Holy ... I was laughing so hard with your phrasing man. At the end of the 'just one more time' i was clapping gratefully. I was already using superlocrian on the dominants, but the IVth mode but on the root and using just the VI but instead of natural, using melodic.... that's so much good stuff in there. Holy again ... now I need to practice this all over the neck (ugh the juicy pain). Thank you Mr. Devine.
The half step, whole step diminished did the same thing for me. Then came the melodic minor. But my brain doesn't like thinking Ab when playing G, so I see G scale with b9 b5 #5 etc. Huge benefit is the areas between scale or pentatonic boxes get filled-in when playing with these altered scales--then *bingo* the whole fingerboard opens up! Wish I knew this when I was a youngster!
It's like you were reading where my mind has been struggling all week. And now you put this video out. Thanks again for all you do
YES! This is what I love about you and your team, Scott. A great balance between all the levels. I'd love to see more of this advanced stuff. Keep the non-traditional scales and modes coming. PS say hi to Ian for me.
This is definitely what I've been needing to learn--for years now! Thank you, Scott!
When should I use the Mandalorian scale?
This is so good, thank you! I also noticed that the reason many of these sound 'right' is because they use the whole tone scale within the diatonic context (Eg the F, G sharp in C major). That's another helpful way to think about it!
[2 minutes in] I can do this! [5 minutes in] Imma just listen to Scott.
Scott, you're just so passionate.. it's a so big pleasure to watch your videos :-) Thanks, and congrat's !! Aurélie (from Belgium)
Very useful, not only for bass players.
Get out OUT
I will add this to my vocabulary today... Thank you 😊
I used to feel inadequate when someone told me they studied music at Berkeley.. now I just tell them I study with SBL
😎👊
Wow, stellar lesson there. I haven't seen Scott enthusiast like that in a while also, it's refreshing !
Also for those wondering, this altered scale can be constructed as a Locrian scale with a flat 4th (if I'm not mistaken)
This lesson is right in my sweep spot SBL team. The workbook is an excellent resource too. Keep up the top notch work 👍
Scott, you never fail to inspire me as a newer bass player to learn more, more and more!
Beautifully done. You are a great player, and a great instructor., Thank - you for all your offerings.
Love lessons like this really shows why it’s important to study your scales
I’m impressed with how you managed to impale Kermit the frog with your E tuner. Great job! Oh, mind blowing knowledge as well. Thanks!
Thank you Scott! as always great pedagogy, awesome lines and great sooooound :)
Lol he threw in the Homer clip 🤣🤣🤣
Hey Scott, love the lesson. Thanks for breaking down the melodic minor. Whenever I look at that scale, modes included, I get turned upside down on how to implement it in my playing. You're systematic approach really helps. It looks like you took a couple of pointers from Rich Brown's lesson on superimposing modes as well. That's a sign of a true teacher: always learning something new. Take care, Scott.
3:54 A wild Kerropi appears! It uses the G Altered scale! It's super effective!
badass lesson from a badass teacher, Many thanks to all of your lessons Scott!
I have learned so much i feel good because I learned on my own lots of things experimenting thanks bro for your videos ...
Thank you very much for your lessons! I have a request: Please, please, please make a breakdown of „Close to me“ from Bill Withers with the cool Jerry Knight bassline
Ok, this is sick🔥 Def gonna practice this both onn bass and guitar
Fantastic job is always Scott. I never would have guessed! definitely need to get this under my fingers in the shed tomorrow
Great lesson! If you want to see an epic use of this technique, check out the Stanley Clarke solo on the song Working Man.
what did he want to say at 8:17 :D favorite part. sums up the feeling of playing "out" - superjuicy!
He likely wanted to say, “How’s about THAT?!”
Awesome lesson taking us through diatonic, relative minor, and modal options! Thanks!
Great vid Scott. Took me back to my jazz improv sessions. Good stuff!
Recommended just because of the John Thomson "Jazz Club" clip 😄
Great... Really great!! 👌
Suddenly I can play jazz!!!
I'm a new subscriber to the channel and I thoroughly enjoyed this video. Music theory opens a lot of doors when it is made accessible, I appreciate how you put this together. Thank you!
Epic video Scott! Thank you so much for all the inspiring lessons
This is a really good one-and I have looked at hundreds.
You make my life as a teacher way easier, thanks Scott
U mean that he's inspiring u in the way he teaches?
@@bap6te557 that and the fact that now students have access to detailed videos with all the info and savoir-faire of concepts that used to take a lot of time to sink in, now they are accesible and if the student is guided by a teacher, content like Scott's is pure gold
Lots of fun! I would get the lesson packet and maybe it will help you guys understand a little better that are struggling with it.
Similar to one of the first episodes on the channel, still interesting and inspiring. Keep on doing that, Scott! Not too many actual lessons recently.
In the A flat melodic minor scale, shouldn't the 3rd be written as a C flat instead of a B natural?
Technically yes. They’re just enharmonic.
@@andreypopov2776 Technically, yes they are, but in the context of the scale B would be a #2. The correct way of writing the flat 3rd in this scale would be C flat.
@@pauladamsbass yeah you’re right
Yes, but Cb is ugly
@@ethanlocke3604 Not as ugly as a diminished third.
I LOVE IT! That bass was singing us a story!!
Thank you Scotty
Always great info
Can you increase the volume of your bass in these videos? Your voice is clear and loud which is great, however, turning up the volume to better hear your playing wakes the neighbors when you speak 😂
I love what you are doing with these bass lessons and I thoroughly enjoy your enthusiasm and passion for the instrument. Keep it going man, you're a positive influence in this crazy world and I for one appreciate your efforts.
I often use headphones or ear buds.
I'm learning so much from you. Thanks Scott!
Thanks a lot for this lesson .. it's awesome!!! It makes Remember me when i was young and went to musical High School..
Awesome lesson, Scott! Thank you!
This is MAJOR!!!! GREATTT LESSON!!! THANKS SCOTT
Hi Scott,when you play lines that way are you thinking of where the notes are located and various patterns that will sound good or are you thinking of each note name as you're playing? I can't do the latter if playing fast,even though I can name any note I stop on.My brains not fast enough so I play more by identifying intervals,shapes and muscle memory.Is that a mistake learning that way? Nice lesson.
Concise and exactly the kind of info I wish there was a whole course on.
You should include what bass you are using in each video. I'd love to know what this one is.
That’s an early Ken Smith bass. Made when he worked together with Vinnie Fodera.
That was awesome Scott. Love it. Recently signed up too
This was the PERFECT video! Awesome topic, explanations, and the video editing majorly contributed to how awesome this was 😎! Also what pedals were you using?
Brilliant lesson! Thank you!
Loving the Jazz club clip......Niiiiiice ;)
MORE OF THIS PLEASE!
4:56 I like that editing, nice
The more I watch You the bigger my head You making 🤠 huge props!
This is great. Thank you for sharing this info for free
DAT SMITH THO
Thanks Scott, this is a great video!!!!!
"The one scale" days Scott, before demonstrating that he's using three different scales, depending on what chord he's playing over. Clear as mud.
@Punch Down King bear in mind that I am someone who has a reasonable understanding of modes and scales. If I found it as unclear as I did, then anyone with less grasp of music theory than me won't stand a chance here. If it's all the same scale, then why obfuscate with referring to it in different ways? Find ONE term to refer to the scale you are using, ideally the simplest one, and then just call it that. If you are playing in the key of C chordwise, then don't call the set of notes you are using "D Dorian". Just call them "the notes of the C major scale". Because when you are playing an actual bassline, you aren't "starting on" a note and then playing a scale from it, you are selecting from a set of notes available to you.
@Punch Down King and I just went back and watched it again. The Ab melodic minor scale is not just a note or two different to the C major/D Dorian, it's a totally different scale. I am not imagining that he's using multiple scales here.
yeah, I gotta agree.
I think Scott is referring the melodic minor "the one scale". In fact it can be used in m7, dominants and M7.
Actually, it’s not difficult to understand. He is discussing the “GAltered” scale, and attempting to explain it to people who do not have formal study in Music Theory. It is an ascending melodic minor scale based on the Neopolitan.
Hey everyone! I understand how to use and play the scales with the chords, but what made you choose those certain scales?
a loot time of study, that gives you the knowledge of what things you can use
Also, how do you guys break away from root notes? I feel like I just get stuck plucking on the roots. Any tips.
@@camoswald6752 you can start with the arpeggio, (the notes of the chord) once you learn them, you will see them present in all the basslines
@@santiagodangelo3171 thanks for all the help!
Digging it!! Thanks Scott!
I love the sound of that bass. What is it?
"You can simply think of the G Altered scale as an Ab melodic minor scale". Of course, it all makes sense now! Good vid, but my head is spinning from all the scales.
I’ve recently got a subscription to SBL. So far I’m enjoying it, but I gotta say, there’s so much more that I never knew and find it absolutely overwhelming at times. 😞 Especially when he was talking about the players path section. I got 3 levels in a month, and in one of the videos later on he talks about taking approximately 16 weeks for per level. It broke my heart! Lol But I’m still learning more than I ever have nonetheless.
May i ask you what Bass are you playing in this video? Take care and a good 2021!!
Hi Scott, I love it when you give these tipe of lessons. Cheers
Imagine spelling types wrong...
@@owenhodge4013 Imagine English not being your native language. What exactly are you trying to prove with an utterly dull comment like that?
@@tanx0r Great point! Just busting balls man. Sorry if I offended. By the way, I agree. Love when he does these vids. So informative!
Thanks again Scott for a great video
Cheers for that!
I'm loving more and more the bass guitar even though I'm a (not so good) guitar player@@devinebass
Nice, really cool 😎
Thanks Scott
I really like this sort of videos! :D
Love this , nice and jazzy !!!💡
More like this videos please!! Great!
You’re simply the best.
Great lesson! As always. :-)
Thank you thank you thank you ....... a big thanks for this video
Love ur videos Scott...I couldnt get the PDF...
Man that bass sounds awesome!
Yes, more like this, please.
MORE LESSEN STUFF PLEASE
Down right killer! Can this be included in Players Path?
Hi Dude Scott, formidable playing and lesson on 2-5-1 with awesome treatment on the progression. Again thank you for being there sharing your valuable knowledge on the most incredible instrument of all, ha, ha, *the Bass*. Cheers
Got me some new scales to practice !!!
0:00 5:20 7:06 8:04
Aaaah!!! That hurt my head!!! I really need to learn this stuff properly rather than just using my ear...
Thank you for being inspiration Godbless :)
Question - I noticed you are referencing the ascending melodic minor and didn’t mention how the descending melodic minor is the same as natural minor (Aeolian) is this because it is actually the g altered scale that you are describing as a melodic minor? Or to simplify a little for the video?
Classic bass face moments 🙏❤️🙏
Ah love this sound, thanks a tonne!
Baller II V I I improv concept. Now let’s take it to the shed.
4:39 B should be Cb btw👉👈
thanks, sensei
I miss your board
Great lesson.
Love it. My 251s started to bore me big time.
yeah, thanks for a great lesson Scott.
... but which play along application do you use? Looks and sounds great.
Really nice