Create Smooth Walking Bass Lines with Ron Carter's Note-Choice Tool
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- เผยแพร่เมื่อ 28 มิ.ย. 2024
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FULL PDF [BONUS RON CARTER 2-PAGE TRANSCRIPTION]: payhip.com/b/cZHMI
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00:00 Intro - playing "What Is This Thing Called Love?"
02:20 Welcome and overview
03:33 Explaining the note-choice tool
07:56 Paul Chambers' Choices on "What Is This Thing Called Love?"
09:00 Suggestions for more analysis
11:20 Closing thoughts
Thanks so much, such a great lesson 😄💙
That intro was outstanding.
Haven't got to the rest of the video yet; I keep restarting.
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!
Great groove!!! Wow, congratulations!
When it comes to Ron Carter, his lines were incredible indeed!! How great of you to bring this improvisation to mind.
I would like to know what you can tell us about these "crazy" notes that Ron chose. His melodic itinerary was always unpredictable and always deviated from the "target" notes of the chords to pull notes out of his hat, embellishing the harmony and without clashing with the rest of the band.
I would love to hear from you about what you think Ron was thinking in these moments!
Hugs!
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
This would have been a HUGE help for me 25 years ago...but also, having eightfold the amount of ambition I had back then probably would have been a huge help, too. 😅Great video, Matt!
Lol! Thanks so much!
Thanks again for a great illustration! :-) In addition to the 'vertical' thinking, in order to find more options, I tried to make an excercise where I pick the start and end destination note for a 2-bar phrase (ending on the first note of the 3rd bar) from the usual chord tones (1,3,5) in different permutations. I made a kind of a game with the first bars of "There will never be another you", as it has 2 bars of the same chord, which is always a bit challenging. I managed to get easily over 20 very much playable opening phrases with this method, and managed to keep pretty strong voice leading as well.
By the way, I had transcribed the same Paul Chambers bass line you did, but I missed the D in G half-diminshed chord and got it down as D flat (and could have more mistakes as well) :-D (I got the video from last year of the first choruses up on my channel).
That’s awesome. Also it’s possible
My transcription was wrong! I’m going to go back and check
Wonderful video, thank you!
Thank you too!
Very good!
Thank you very much!
You’re welcome! Thanks for watching
another banger video. Matt doesn't miss.
I appreciate that!
This is an awesome tool, Matt!
Thanks so much!!
Thank you for the brain food, Matt! Great approach and tone.
With pleasure! Thanks for watching
Thank you sir!
You bet!
Fantastic tool, thank you 🙏🏻
👍🏻
shouldn't that 7th chord tone at 3:40 over Cmaj7 be F# rather than F ?
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.
1:25 That’s why I disaprove the so called « be-bop dress code » I hate wearing suits with my DB, it’s so uncomfortable, when you play piano or horns, why not, but not for DB, specially for a small guy like me who has to really stretch up my left arm. It’s ok for electric bass, but not much.