Hey Janek,, thank you so much for all the info you put out here, and I should say FOR FREE. I'm amazed at the obnoxious comments from certain people. You are an inspiration to all of us. And to those spitting out uneducated comments, go take a private lesson with Janek. i'm a pro bass player for almost 30 years and I still find this information super useful, because of the awareness that it creates in you, when studying these sounds. Go have fun!
🦆 Thanks Janek, I won't pretend I immediately get everything you present in your theory videos, but they always leave me with a sense of curiosity about the subject and a desire to experiment.👍
Great content as always, modes were so important in case of jazz and the whole movement around them. Thanks, Janek, as always it was time well spent. 🦆
🦆Thanks Janek. A whole new world has opened up for me. Can yo maybe mention one of your compositions where the Harmonic Major has been used, and if you can elaborate over which chords this scale would be useful in improvisation?
Janek don't worry about the people upset on the "why" i think the reason some people get upset is because they haven't reached a level of understanding what music is really about and i think that they think that there is a systematic approach. Anyways i enjoyed the video as always. Thanks for sharing! 🦆
Hey Janek. 🦆 The best way I’ve heard the major scale modes described is how they relate to the natural major or minor, in terms of which note is different, since they all have just one different note besides the Locrian. I had a go at looking at modes of the melodic minor, and found that it’s possible to name each of them using the names of the major scale modes, some could be named in more than one way iirc, but for the most part it was possible to name each one in a way where you could understand exactly what intervals are included purely by the name. I’m guessing that might be trickier to do with this scale since it has that minor 3rd interval, but I may give that a go anyway. 🙂
Hey, Janek! 🦆 Have you ever dealt with mistakes the only appear during live performances and not so much in rehearsal settings? What your approach with those? Thank you!
I don’t think I’ve ever really thought about it in those terms. If I’m in rehearsals for something other than my own music, I have generally worked on the material so much ahead of time that it’s show-ready from the first day or first run through. There will be things that come up that need changing in terms of arrangements, but it’s rare to find something is so challenging that we’re getting it “wrong” at rehearsal. It might come down to more of a question of taste and group agreement on how something should sound, rather than puzzling over something that just doesn’t work. And if something really doesn’t work, we normally just leave it out and find something else. The things that tend to go wrong on the gig are more technical than musical. And if something is going to go wrong musically it’s normally in a very casual setting where there was no prep at all.
Open book to page 164… start practicing and after five minutes of hearing the flat 6 echoing off the 5, I keep thinking of a Saharan desert landscape. Another gem! Any consideration on a brief discussion about Contrary Motion (page 241)… that is a progression that has planted an ear worm I can’t forget. 🦆
Contrary motion could well make an appearance in the next episode of the podcast in a few days time. It's something very common amongst piano exercises, and since I came up using the Hanon piano book, I always just tried to adapt the idea for the bass. It's a good finger twister and a fantastic exercise, and I think it can really help open the ear up to sounds for arranging and composing. Bass players who don't have a second instrument skill like the piano can often go their whole lives without thinking about things in contrary motion.
Cool. Harmonic major is a new one to me So, when do you think you'd be using this scale (or it's modes) in a practical sense? I know the idea is to develop it as a sound, phrases etc that become part of one's voice, but which chords, or basic sequences, soundscapes would suggest this scale/sound to you?
A lot of it depends on the context. Take each of the modes for instance. They have very specific characteristics and sounds. The Mixolydian b2 for instance might lend itself nicely to a dominant b9 chord. But again, the object of running these scales is all about putting the information in the muscle memory. The connection to harmony comes from listening to music as much as possible. One day you're going to be listening to something and a light bulb will come on. AHA! That's that weird harmonic major sound... Then the association becomes with music rather than theory.
🦆 I just started with you Pentatonics book. I'm really appreciating your fingerings suggestions and play along library on your website. Thanks so much you are a great teacher and mentor.
This book has inspired me to get my practice routine overhauled. I found working through with the sheet music locked it in a bit more (hope there is more of this content coming out with the new book! 🙏) Thanks Janek, you continue to inspire, so very happy I found you and drank the cool aid! (dunno about your new face shot on the webpage though, thought I was in trouble with teacher for not practicing enough! 🙄)
The angle of your wrist in the lower register @10:51 makes my carpal tunnel cringe 😬 From someone who’s suffered and had to stop playing for years due to wrist pain issues, let us be mindful of proper wrist angle while practicing. Cheers
Yet another disappointing video full of the WHAT modes are but not the WHY. If that was ever mentioned in the video I clearly missed it. "A full play through of the Melodic Major mode scales" would have been an accurate title. Why I should learn this, other than just because I can? No idea.
Exactly why? I know what they are and where they come from , I understand what they are and extension of, but the question is why and how, these questions will probably be allusive until we be buckle down and just go to school, I don't think you tube is the right medium to try to teach this
@@davidjackson5549 watch the video again. The message is crystal clear. Just because you watched the video with a certain set of very specific expectations that were not met, doesn’t meant the video didn’t deliver exactly what it promised. It’s like watching a video about how to make fried rice and commenting that it was disappointing because you didn’t learn how to make ice cream. Simply put, modes are variations of a scale. The “why” is all about the users choice of how they play them. As I said in the video, this lesson is about the mechanics of the concept, and the more you repeat each sound in your practice routine, the faster you’ll be able to recognize and react (in real time) to specific modes when you hear them. The thing most people miss the point on by a country mile is that music comprehension should be 99% listening. So what if you know the name of a scale and the theory of which chord you could possibly play it with? I can destroy all that theory by playing a D flat on a c major chord and making it sound great. The difference between a player that can do that and one who really only knows the “correct” theory, is that people can hear you thinking when you play. It’s the difference between someone with a natural feel for music via their ears, and someone who is all thinking and theory-based. One you want to listen to, the other you don’t.
@@OlandoMcCall what is it exactly that you want to know about the “why” and “how” as you put it? Can you okay a major scale? If so, try experimenting with all the notes in that major scale played from each of its scale degrees. What do you hear and feel when you play c major vs c major from D to D? (Dorian) You hear a minor sound vs a major sound for starters. Now play the arpeggio as well as the scale. Then outline the chord tones which could be D minor 7 or D minor 6. Listen to the way a natural 6 sounds on a minor chord. That’s one exercise with only one mode of a major scale. Can you do that in 12 keys? Can you do that with all the modes? TH-cam isn’t the place to learn? If you can learn and execute those very rudimentary exercises, you’ve just learnt more from a single TH-cam comment than your first semester at a lot of music schools. For free.
@@janekgwizdala understood Janek I will look into it further. The "why" for example why choose a certain mode movement at any particular scale degree, makes sense say you play D Dorian say you get to A then say play A Aeolian, why? I do understand what you're saying and I know it's about creativity but there's order in the creativity yes?
@@janekgwizdala Thanks for taking the time to reply. You do however state "and why should you learn them" - I think it's not unreasonable to expect a large portion of the video to be given over to an explanation of the value you see in them, and why it's worth devoting the time to them. Your ice cream analogy is rather spurious, since you spell out in the title that you will be answering a question, which you then do not (directly). The 'specific expectations' were very much created by the title of your video. I think the key concept that some people (ok, me for one) struggle with is - yes if you play A Aeolian as a scale in its own right, it has a different feel to C Ionian - but especially within the middle of the two octave scales you're playing, all the notes are in C Major anyway so in the context of a line, the feel of going between B and C will be the same whether you're 'playing' in either mode, surely?
@ again, total BS. I’m not sure where you got your information from, but I would demand an immediate refund. Whoever taught you the phrase “neck position” in this context needs their credentials revoked. A simple google search will confirm this if you care to cross reference the information.
Hey Janek,, thank you so much for all the info you put out here, and I should say FOR FREE. I'm amazed at the obnoxious comments from certain people. You are an inspiration to all of us. And to those spitting out uneducated comments, go take a private lesson with Janek.
i'm a pro bass player for almost 30 years and I still find this information super useful, because of the awareness that it creates in you, when studying these sounds.
Go have fun!
No questions! Just want to thank you for all the content you put out. Video, albums, bass books. love it all 🦆🦆
🦆 Thanks Janek, I won't pretend I immediately get everything you present in your theory videos, but they always leave me with a sense of curiosity about the subject and a desire to experiment.👍
Great content as always, modes were so important in case of jazz and the whole movement around them. Thanks, Janek, as always it was time well spent. 🦆
Always time well spent watching your very informative videos. Thanks for sharing your knowledge with us, Janek
🦆Thanks Janek. A whole new world has opened up for me. Can yo maybe mention one of your compositions where the Harmonic Major has been used, and if you can elaborate over which chords this scale would be useful in improvisation?
Kool. It would be great that you made also some instructional videos for the scales inside the book.
Janek don't worry about the people upset on the "why" i think the reason some people get upset is because they haven't reached a level of understanding what music is really about and i think that they think that there is a systematic approach. Anyways i enjoyed the video as always. Thanks for sharing! 🦆
🦆No questions, just looking forward to getting my hands on the scale book. The two octave idea is spot on.
🦆Cheers! The journey continues and I look forward to working through the book.
cant wait to uy the book very useful stuff
Hey Janek. 🦆 The best way I’ve heard the major scale modes described is how they relate to the natural major or minor, in terms of which note is different, since they all have just one different note besides the Locrian. I had a go at looking at modes of the melodic minor, and found that it’s possible to name each of them using the names of the major scale modes, some could be named in more than one way iirc, but for the most part it was possible to name each one in a way where you could understand exactly what intervals are included purely by the name. I’m guessing that might be trickier to do with this scale since it has that minor 3rd interval, but I may give that a go anyway. 🙂
🦆 Great video! Been enjoying the books I bought during Black Friday
@@reecebisel 💪💪💪
Always a great video! Heading to 100K
Signed book ordered!
Do you plan on doing instruction videos for (part of) your Scale book? If that'd be too much, maybe just for the studies part?
I’m sure a small library of videos will develop based around the book. I may well do play-throughs of each exercise as a direct companion to it.
Hey, Janek! 🦆
Have you ever dealt with mistakes the only appear during live performances and not so much in rehearsal settings?
What your approach with those?
Thank you!
I don’t think I’ve ever really thought about it in those terms. If I’m in rehearsals for something other than my own music, I have generally worked on the material so much ahead of time that it’s show-ready from the first day or first run through. There will be things that come up that need changing in terms of arrangements, but it’s rare to find something is so challenging that we’re getting it “wrong” at rehearsal. It might come down to more of a question of taste and group agreement on how something should sound, rather than puzzling over something that just doesn’t work.
And if something really doesn’t work, we normally just leave it out and find something else.
The things that tend to go wrong on the gig are more technical than musical. And if something is going to go wrong musically it’s normally in a very casual setting where there was no prep at all.
@@janekgwizdala thank you for your insanely precious words!
Open book to page 164… start practicing and after five minutes of hearing the flat 6 echoing off the 5, I keep thinking of a Saharan desert landscape. Another gem! Any consideration on a brief discussion about Contrary Motion (page 241)… that is a progression that has planted an ear worm I can’t forget. 🦆
Contrary motion could well make an appearance in the next episode of the podcast in a few days time.
It's something very common amongst piano exercises, and since I came up using the Hanon piano book, I always just tried to adapt the idea for the bass. It's a good finger twister and a fantastic exercise, and I think it can really help open the ear up to sounds for arranging and composing. Bass players who don't have a second instrument skill like the piano can often go their whole lives without thinking about things in contrary motion.
Me too. Just got the book yesterday. Spent so much time on contrary motion
Cool. Harmonic major is a new one to me So, when do you think you'd be using this scale (or it's modes) in a practical sense? I know the idea is to develop it as a sound, phrases etc that become part of one's voice, but which chords, or basic sequences, soundscapes would suggest this scale/sound to you?
A lot of it depends on the context. Take each of the modes for instance. They have very specific characteristics and sounds. The Mixolydian b2 for instance might lend itself nicely to a dominant b9 chord. But again, the object of running these scales is all about putting the information in the muscle memory. The connection to harmony comes from listening to music as much as possible. One day you're going to be listening to something and a light bulb will come on. AHA! That's that weird harmonic major sound... Then the association becomes with music rather than theory.
Yeah me too...
🦆 Thx !
Do you have this book in digital format? Need it for the iPad. Thanks!
janekgwizdala.com/store/p/the-bassists-book-of-scales-and-arpeggios-digital-ebook
🦆 I just started with you Pentatonics book. I'm really appreciating your fingerings suggestions and play along library on your website. Thanks so much you are a great teacher and mentor.
This book has inspired me to get my practice routine overhauled. I found working through with the sheet music locked it in a bit more (hope there is more of this content coming out with the new book! 🙏) Thanks Janek, you continue to inspire, so very happy I found you and drank the cool aid! (dunno about your new face shot on the webpage though, thought I was in trouble with teacher for not practicing enough! 🙄)
It sounds weird :) It is "undecided" scale (melodic major)
For me is easy because I'm former guitar player and I played a lot of Ingwie's solos.
The angle of your wrist in the lower register @10:51 makes my carpal tunnel cringe 😬 From someone who’s suffered and had to stop playing for years due to wrist pain issues, let us be mindful of proper wrist angle while practicing. Cheers
Yet another disappointing video full of the WHAT modes are but not the WHY. If that was ever mentioned in the video I clearly missed it. "A full play through of the Melodic Major mode scales" would have been an accurate title. Why I should learn this, other than just because I can? No idea.
Exactly why? I know what they are and where they come from , I understand what they are and extension of, but the question is why and how, these questions will probably be allusive until we be buckle down and just go to school, I don't think you tube is the right medium to try to teach this
@@davidjackson5549 watch the video again. The message is crystal clear.
Just because you watched the video with a certain set of very specific expectations that were not met, doesn’t meant the video didn’t deliver exactly what it promised.
It’s like watching a video about how to make fried rice and commenting that it was disappointing because you didn’t learn how to make ice cream.
Simply put, modes are variations of a scale. The “why” is all about the users choice of how they play them.
As I said in the video, this lesson is about the mechanics of the concept, and the more you repeat each sound in your practice routine, the faster you’ll be able to recognize and react (in real time) to specific modes when you hear them.
The thing most people miss the point on by a country mile is that music comprehension should be 99% listening. So what if you know the name of a scale and the theory of which chord you could possibly play it with?
I can destroy all that theory by playing a D flat on a c major chord and making it sound great. The difference between a player that can do that and one who really only knows the “correct” theory, is that people can hear you thinking when you play.
It’s the difference between someone with a natural feel for music via their ears, and someone who is all thinking and theory-based.
One you want to listen to, the other you don’t.
@@OlandoMcCall what is it exactly that you want to know about the “why” and “how” as you put it?
Can you okay a major scale?
If so, try experimenting with all the notes in that major scale played from each of its scale degrees.
What do you hear and feel when you play c major vs c major from D to D? (Dorian)
You hear a minor sound vs a major sound for starters.
Now play the arpeggio as well as the scale.
Then outline the chord tones which could be D minor 7 or D minor 6.
Listen to the way a natural 6 sounds on a minor chord.
That’s one exercise with only one mode of a major scale. Can you do that in 12 keys? Can you do that with all the modes?
TH-cam isn’t the place to learn?
If you can learn and execute those very rudimentary exercises, you’ve just learnt more from a single TH-cam comment than your first semester at a lot of music schools.
For free.
@@janekgwizdala understood Janek I will look into it further. The "why" for example why choose a certain mode movement at any particular scale degree, makes sense say you play D Dorian say you get to A then say play A Aeolian, why? I do understand what you're saying and I know it's about creativity but there's order in the creativity yes?
@@janekgwizdala Thanks for taking the time to reply. You do however state "and why should you learn them" - I think it's not unreasonable to expect a large portion of the video to be given over to an explanation of the value you see in them, and why it's worth devoting the time to them.
Your ice cream analogy is rather spurious, since you spell out in the title that you will be answering a question, which you then do not (directly). The 'specific expectations' were very much created by the title of your video.
I think the key concept that some people (ok, me for one) struggle with is - yes if you play A Aeolian as a scale in its own right, it has a different feel to C Ionian - but especially within the middle of the two octave scales you're playing, all the notes are in C Major anyway so in the context of a line, the feel of going between B and C will be the same whether you're 'playing' in either mode, surely?
Wasting your time
@@dontgoout1434 with what exactly?
@dontgoout1434 …..Actually, you are wasting our time with your very bland and vague comment
@ absolutely wrong. Please stop commenting with false information.
@ again, total BS. I’m not sure where you got your information from, but I would demand an immediate refund.
Whoever taught you the phrase “neck position” in this context needs their credentials revoked.
A simple google search will confirm this if you care to cross reference the information.
Alot of talk and redundancies, bs ,get on with it man,ur OCD move on,I couldn't even get all the way through to the end
Hi Janek. For what it is worth. Alexa told me your book had just been released.🦆