Mike Edmonds Quintet my band on KZread and Spotify. Thank you again for this lesson it’s great . I remember playing this tune with a great piano player and I asked what shall I play on the bridge or we play ? He said ohhhh effffing anything! So we went crazy on it
@LearnJazzBasswithMattRybicki18 сағат бұрын
Thanks for watching and going crazy!
@mikebassy22 сағат бұрын
Great lesson mate . Thank you
@LearnJazzBasswithMattRybicki18 сағат бұрын
My pleasure!
@hitoshinohara1914Күн бұрын
Good content thanks! What’s DVD near Ray brown book?
@LearnJazzBasswithMattRybickiКүн бұрын
Thank you! That’s a book on the music stand “The Omni Americans” by Albert Murray
@dominic87062 күн бұрын
thanks for your great lesson and insight
@LearnJazzBasswithMattRybicki2 күн бұрын
Thanks for watching!
@music-collective2 күн бұрын
Excellent lesson. I'm trying yo learn bass and this is a great and clear lesson. Thank you Matt.
@LearnJazzBasswithMattRybicki2 күн бұрын
Nice! Thanks for watching and for your kind words!
@GeorgiAndre2 күн бұрын
Absolutely brilliant and stunning lesson, Matt! I did learn a lot! Thank you so much for just giving away all those things. Your channel is one of the best educational channels you can find on KZread! Just WOW!
@LearnJazzBasswithMattRybicki2 күн бұрын
How kind of you to say! Thank you!
@KeesdeKooter2 күн бұрын
Great video! And you don't need a click-baity title, Matt 😉
@LearnJazzBasswithMattRybicki2 күн бұрын
Thank you so much that means a lot!
@KrisDuerinckx2 күн бұрын
dominant flat 5 ... is there a scale, used by jazzmusicians, that is dominant with a flat 5? All the scales I can think of have a #11 ... Alt has a #4, #5, lydian dom has a #4, 5, Dim half-whole also #4 5 (1-b9-#9-3-#4-5), so what do you mean with dominant flat 5? (always confuses me ...) Especially when playing with older musicians, I see dominant flat 5 chords in their scores, it would mean that I can not play a natural fifth in my walking line, but most of the time the ear says that that is not the case, that I can play the natural fifth, so it should say sharp 11 ... no?
@LearnJazzBasswithMattRybicki2 күн бұрын
Hi there - this is a good question! First and most importantly, specifying a chord as formally having a b5 is intended to directly communicate that there is *not* a natural 5th but the flat 5 in the sound. Like you said, however, there’s millions of times where we as bassists can “get away with” playing the natural 5. But I think it helps to know the intention. It’s definitely not supposed to be a #11 and also definitely not supposed to have a natural 5. (Again, “supposed to” is relative, ultimately). As far as a scale with a “real” b5, the altered scale’s 4th degree can be *either* #4 or b5. Same with a whole tone scale. You could also think diminished whole/half. That fifth note could be considered a flat 5. To me, writing “7b5” _instead_ of “7alt” is a way for whoever is notating the music to communicate not only that there’s no natural 5, but most likely they don’t want to hear the b9 or #9 either from the altered scale. But that’s subjective too. And also for me, I used to shy away from that sound but now I really dig it! And I try to play the b5 myself cause I like the sound
@KrisDuerinckx2 күн бұрын
@@LearnJazzBasswithMattRybicki thank you!!!
@LearnJazzBasswithMattRybicki2 күн бұрын
@@KrisDuerinckx with pleasure
@stevenignelzi92573 күн бұрын
Excellent explanation of harmonic genius jazz interpretation- improv in the moment!!!!
@LearnJazzBasswithMattRybicki3 күн бұрын
Thanks!
@stevenignelzi92573 күн бұрын
Do Terrence Blanchard version too!?!?
@stevenignelzi92573 күн бұрын
The Ron Carter mystery notes could both be passing sus chords ?
@LearnJazzBasswithMattRybicki3 күн бұрын
Yeah it might be possible - or it was just a passing thing. Maybe if I had a full transcription of what Herbie was playing in those exact moments we could “rebuild” the intention…but who know?
@stevenignelzi92573 күн бұрын
The turnaround discussion is truly excellent! The “Real Book” has caused a lot of confusion!
@LearnJazzBasswithMattRybicki3 күн бұрын
So glad that you got something from it. I wish it were the only answer to that section haha!
@stevenignelzi92573 күн бұрын
Practicing double bass through recording in my studio, definitely working with the same process - feeling good about that, thanks! That ‘no shift’ position is what I would always have been my electric bass go to position, the low notes on my double bass up there on what have been eight fret don’t sound very good, a shift probably worth it to me - in the studio… definitely like the Bb , OK on the I pattern too I think…. S truly warped cat might like the B on top instead of C ;-)
@stevenignelzi92573 күн бұрын
Practicing double bass through recording in my studio, definitely working with the same process - feeling good about that, thanks! That ‘no shift’ position is what I would always have been my electric bass go to position, the low notes on my double bass up there on what have been eight fret don’t sound very good, a shift probably worth it to me - in the studio… definitely like the Bb , OK on the I pattern too I think…. S truly warped cat might like the B on top instead of C ;-)
@LearnJazzBasswithMattRybicki3 күн бұрын
Haha that B would be crazy - love it. Thanks for watching!
@dmpk9753 күн бұрын
I love Footprints
@LearnJazzBasswithMattRybicki3 күн бұрын
Me too
@andrewfiles41843 күн бұрын
I love that tune, bro didnt get baseline if he was doing miles version or should I say Ron carters… maybe it’s just accented differently…
@LearnJazzBasswithMattRybicki3 күн бұрын
What did I not “get”? Did you catch the part of me talking about 2 ways to play the line? Did you want the actual full length video on my page?
@johnunderwood31323 күн бұрын
Double bass all day. Love it
@LearnJazzBasswithMattRybicki3 күн бұрын
Yessir
@pizzahutevo3 күн бұрын
Sounds like grand turismo 7
@LearnJazzBasswithMattRybicki3 күн бұрын
Hahah nice
@jeffmoe26603 күн бұрын
Thank you!
@LearnJazzBasswithMattRybicki3 күн бұрын
Thank you!
@dtfoel12303 күн бұрын
thanks - I appreciate your posts
@LearnJazzBasswithMattRybicki3 күн бұрын
Glad you like them!
@jameswasil89613 күн бұрын
Yes it’s great! You played in very nicely too!!
@LearnJazzBasswithMattRybicki3 күн бұрын
Thanks a lot!
@ingegnerevolante4 күн бұрын
Thank you. I'm just at the beginning of my travel into the fascinationg world of jazz, my understanding is still limited, but I really appreciate your explanation.
@LearnJazzBasswithMattRybicki4 күн бұрын
Welcome! And thanks for your kind words
@Kenn-rb7gq6 күн бұрын
Thanks so much, such a great lesson 😄💙
@LearnJazzBasswithMattRybicki4 күн бұрын
Wow thank you so much for your generous words and gift!!
@stevensprung-wo3pk9 күн бұрын
Get creative and drop the e to d (Ron Carter does this lots) and transpose an octave lower - fun on the electric bass! Works well with this tune - which compels me to share an anecdote from the early nineties when Dizzy and I were coincidently simultaneously relieving ourselves backstage - what an honor!!
@MatthewRybicki9 күн бұрын
Lol Wow love it
@stevewhipple9 күн бұрын
I 100% agree that all bass players should spend some time playing gut strings, if possible. You learn so much by committing to that vibe and figuring out how to make that work in different contexts. And you get that sound in your ear so your hands will figure out a way to make a similar sound/feel on any decent setup. It expands your tonal color palette in a way that nothing else will. Of course it's a luxury to be able to experiment like that in real life. But I do feel that in music school, bassists should have access to a gut string bass that is set up well, and they should spend at least a semester playing on it.
@LearnJazzBasswithMattRybicki9 күн бұрын
all well said!!
@KaltOhm15 күн бұрын
Wow man, I love your videos. They are always such a lot of fun. I’m light years away from being able to play Giant Steps, but I really enjoy the way you present the information and make it accesible. Thanks!
@LearnJazzBasswithMattRybicki15 күн бұрын
Thanks a million!
@bernarddionne730417 күн бұрын
Cool. The most important thing as you know is the sound whereas I find myself often walking with the 2 fingers together on the quarter note. All your exercises do work with that approach as well. Thanks.
@LearnJazzBasswithMattRybicki17 күн бұрын
Yes exactly - thanks for watching and commenting!
@stevielavietv895719 күн бұрын
Matt. I’ve been really enjoying your content. I just bought your ray brown book. I’ve been saving up for a double bass but don’t know if I’m supposed to get a 3/4 or 4/4 size. What do you play
@LearnJazzBasswithMattRybicki19 күн бұрын
Hey there - thanks for the kind words! I have a 7/8 and a 3/4. 4/4 are pretty rare and would only be rarely used with orchestras. The size depends on your own physical size. But the most important thing is that the bass sounds good and is set up well. Unless you’re particularly tall or small, size doesn’t really matter. A good luthier will be able to help you choose, but an even better resource would be a private instructor to help you decide. Good luck and thanks for watching!
@stevielavietv895719 күн бұрын
Thank you sir, god bless. Looking forward to more of your amazing playing
@doublebasshq20 күн бұрын
This was a great idea-thanks for this, Matt! It was great to chat with you both! 😅
@LearnJazzBasswithMattRybicki20 күн бұрын
Thanks so much Jason - for your knowledge and participation!
@jimhealey496120 күн бұрын
back in the 70's I went to the er after a gig because my right hand was not cooperative, I use all 4 fingers sometimes thumb, I stressed my tendons badly, I did relearn to play lightly and let the amp do the work, rather than my hand make the sound I played. Once I did get it my right hand did relax and I was able to be lots more articulate and play faster. We did Johnny B Goode with our own rendition, I played 1/4 notes at 163 bpm, After changing my bottom to a cerwin vega 18": and adopting to it with lighter touch and let the equipment do the work, no more problems with the right hand. So long ago. I stopped playing after the last gig with a recording company and became a machinist, engineer, metal worker, sheet metal fabricator, electric boat engineer, electrician, electrical engineer, and today Aerospace . But I still play my basses almost every day. My Fretless is on fretless bass dot com 000364. The things being discussed is super important. AVOID any Surgery!!
@figueroalabs21 күн бұрын
Loved the topic, and will absolutely follow the advices and get the book. But something that I feel that was missing and is critical, is talk with your bass teacher and your luthier. I recently got a double bass on discount from a player who got it from a store, who took it home and just couldn't hack it. When I tested it, it was horrible and unplayable. After changing the cheap strings to some low tension strings, and adjusting the bridge I got really disappointed to the store where the other player got it, as they didn't know anything about double bass, and they didn't told it's original owner that the instrument was not ready for use right out of the store. Anyone playing like it was would not endure more than a month without injury. The amazing guitarist from argentina Ricardo Mollo recently: "I now choose guitars by how much they weight and not so much by how they sound".
@LearnJazzBasswithMattRybicki21 күн бұрын
Thanks for watching and your comment is totally spot on. That was an oversight on my part - thank you for bringing this to light!
@figueroalabs21 күн бұрын
@@LearnJazzBasswithMattRybicki Absolutely not an oversight. Rather, it's a topic that deserves more air time.
@MrDanilop4521 күн бұрын
Absolutely necessary, I am 56, I think I need extra care now.
@LearnJazzBasswithMattRybicki21 күн бұрын
Me too!
@MrDanilop4521 күн бұрын
Sharing my experience, I noticed that after 30’-40’ of practice I need to wash my hands in super hot water. After a couple of minutes of this treatment, I can play for at least another hour and a half. Unfortunately I can’t play every day so I think it is not possible for me to increase training hours for now.
@LearnJazzBasswithMattRybicki21 күн бұрын
FREE PDF: payhip.com/b/8u9JF FREE "Essential Bass Lines" List: payhip.com/b/B3VDr PDF BUNDLE: payhip.com/b/DAvGC Dr. Randall Kertz www.drkertz.com www.isbworldoffice.com/body-b... / @drkertztv The Bassist’s Guide to Injury Management, Prevention and Better Health www.drkertz.com/booksmusic Jason Heath / @doublebasshq contrabassconversations.com/g... doublebasshq.com Winning the Audition and Road Warrior Without An Expense Account www.amazon.com/stores/Jason-H... Longevity and the Bassist • Longevity and the Bassist 00:00 Intro 00:56 Welcome and introductions 03:15 Viewer question and Dr. Kertz response 10:37 Jason Heath initial thoughts 14:05 Discussing Dr. Kertz book 14:43 Discussing preventive measures 18:00 Discussing personal habits for health 25:11 Discussing surgery 32:28 Dr. Kertz history 35:24 Asking questions from Dr. Kertz's interviews with bass greats 44:05 Closing remarks
@RobertMoss-sv2ob25 күн бұрын
This is Great. One on my favorite performances is Joe Comfort on Sarah Vaughan's "when lights are low". I've probably listened to it hundreds of times but I am not skilled enough to transcribe the whole piece, have you done anything with this?
@LearnJazzBasswithMattRybicki25 күн бұрын
Ooh I don’t know this one! I’m gonna check it out ASAP!
@asfasdfadf982027 күн бұрын
Wonderful video, thank you!
@LearnJazzBasswithMattRybicki27 күн бұрын
Thank you too!
@nightly52228 күн бұрын
wow, great video. thank you so much for this
@LearnJazzBasswithMattRybicki27 күн бұрын
Thanks for watching!
@hitoshinohara191429 күн бұрын
Thank you.I’m interested
@LearnJazzBasswithMattRybicki29 күн бұрын
Thank you!
@hitoshinohara191429 күн бұрын
Hello!what are two book behind you? One is Ray brown book.what is other?
@LearnJazzBasswithMattRybicki29 күн бұрын
Hello! It’s a method book that I wrote for the publisher Hal Leonard! www.matthewrybicki.com/method-book
@user-uj9wo8ht6sАй бұрын
太棒了，台灣的bass students need you!
@LearnJazzBasswithMattRybickiАй бұрын
非常感谢！ 1999年我有幸来到台北。我爱台湾！
@bassnsaxАй бұрын
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!
@LearnJazzBasswithMattRybickiАй бұрын
Lol! Thanks so much!
@linusklevebrant6006Ай бұрын
This is such a great video! Love your channel! However I would like to make an amendment on the myth#5 that is about note choises. I think notechoises is actually very important in regards to "planning ahead" in your basslines. Its very hard to get the right feel if you cannot plan ahead longer than the next quarternote. It was during a longer period when I really made an effort to transcribe other bassists choises of notes (and feel of course) that I could eventually relax enough to get the proper feel for the music. I think that notechoises and rhythm are interconnected in that way. This was true for me anyway. I suspect that maybe I'm not all alone in this.
@LearnJazzBasswithMattRybickiАй бұрын
Hi there thanks for your very kind words and for watching! What you're saying here is an amazing level of subtlety that's really so true. The idea that you presented really blew me away, sincerely. But let me push back just a touch: given a *binary* choice between notes and feel, for argument's sake, a listener will "forgive" wrong notes exponentially more than they would forgive bad feel. Broadly, I wasn't saying notes aren't important (I mean, I know you know I wasn't saying that) but rather that feel is often under-valued in the equation and note-choice is often overvalued. All that said, again, what you wrote is wonderfully observant. Thanks again!
@linusklevebrant6006Ай бұрын
@@LearnJazzBasswithMattRybicki Wow! Thanks for the kind words! I really love this discussion ;-). I actually agree with you 1000%. My comment was just intended as an amendment and not any critique at all. But I do think one can complicate this just a little bit at least. I really think that "myth#5" has a given place in a list of myths like this! If any one forced me to make this choice at gunpoint I would easily choose rhythtm/feel over notes any day of the week. But I guess my thought was: Is it actually ever going to be that binary in reality? Maybe rhythm is the destination and notechoices is a vehicle to get there? Maybe one can look at it that way? I have no idea, but I think about this a lot as this opened up things for me so much in my own playing.
@LearnJazzBasswithMattRybickiАй бұрын
@@linusklevebrant6006 Yes I totally understand and agree! I think the "myth" was (like the others, but especially this one) about sort of just reminding all of us to stay balanced with note vs. feel. Especially those players who are maybe just starting on the path, the note thing is so hard, it often becomes a priority "accidentally". So the "myth" is sort of just a reminder I guess. I really appreciate your thoughts on this, thanks for talking with me
@egbertjas6838Ай бұрын
But you play a differend rythm, or did I miss something?
@LearnJazzBasswithMattRybickiАй бұрын
Where, my friend?
@chainofsoundsАй бұрын
I recognise that one. Smart transition to Upright! 👍 Strength and stamina is necessary even if its not musically exciting at all. Great sound btw!
@LearnJazzBasswithMattRybickiАй бұрын
Thanks so so much!
@gribo.9543Ай бұрын
another banger video. Matt doesn't miss.
@LearnJazzBasswithMattRybickiАй бұрын
I appreciate that!
@jarma76Ай бұрын
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).
@LearnJazzBasswithMattRybickiАй бұрын
That’s awesome. Also it’s possible My transcription was wrong! I’m going to go back and check
@KeesdeKooterАй бұрын
This is an awesome tool, Matt!
@LearnJazzBasswithMattRybickiАй бұрын
Thanks so much!!
@luke_bass91Ай бұрын
Thank you for the brain food, Matt! Great approach and tone.
@LearnJazzBasswithMattRybickiАй бұрын
With pleasure! Thanks for watching
@TheBassfreshАй бұрын
shouldn't that 7th chord tone at 3:40 over Cmaj7 be F# rather than F ?
@LearnJazzBasswithMattRybickiАй бұрын
I’m sorry I don’t understand your question - could you rephrase it?
@kristianstrmsholt9933Ай бұрын
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.
@LearnJazzBasswithMattRybickiАй бұрын
@@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"
@kristianstrmsholt9933Ай бұрын
@@LearnJazzBasswithMattRybicki No problem! Thank you for yet another great and very informative video.
Пікірлер
Outstanding
Thank you!
Mike Edmonds Quintet my band on KZread and Spotify. Thank you again for this lesson it’s great . I remember playing this tune with a great piano player and I asked what shall I play on the bridge or we play ? He said ohhhh effffing anything! So we went crazy on it
Thanks for watching and going crazy!
Great lesson mate . Thank you
My pleasure!
Good content thanks! What’s DVD near Ray brown book?
Thank you! That’s a book on the music stand “The Omni Americans” by Albert Murray
thanks for your great lesson and insight
Thanks for watching!
Excellent lesson. I'm trying yo learn bass and this is a great and clear lesson. Thank you Matt.
Nice! Thanks for watching and for your kind words!
Absolutely brilliant and stunning lesson, Matt! I did learn a lot! Thank you so much for just giving away all those things. Your channel is one of the best educational channels you can find on KZread! Just WOW!
How kind of you to say! Thank you!
Great video! And you don't need a click-baity title, Matt 😉
Thank you so much that means a lot!
dominant flat 5 ... is there a scale, used by jazzmusicians, that is dominant with a flat 5? All the scales I can think of have a #11 ... Alt has a #4, #5, lydian dom has a #4, 5, Dim half-whole also #4 5 (1-b9-#9-3-#4-5), so what do you mean with dominant flat 5? (always confuses me ...) Especially when playing with older musicians, I see dominant flat 5 chords in their scores, it would mean that I can not play a natural fifth in my walking line, but most of the time the ear says that that is not the case, that I can play the natural fifth, so it should say sharp 11 ... no?
Hi there - this is a good question! First and most importantly, specifying a chord as formally having a b5 is intended to directly communicate that there is *not* a natural 5th but the flat 5 in the sound. Like you said, however, there’s millions of times where we as bassists can “get away with” playing the natural 5. But I think it helps to know the intention. It’s definitely not supposed to be a #11 and also definitely not supposed to have a natural 5. (Again, “supposed to” is relative, ultimately). As far as a scale with a “real” b5, the altered scale’s 4th degree can be *either* #4 or b5. Same with a whole tone scale. You could also think diminished whole/half. That fifth note could be considered a flat 5. To me, writing “7b5” _instead_ of “7alt” is a way for whoever is notating the music to communicate not only that there’s no natural 5, but most likely they don’t want to hear the b9 or #9 either from the altered scale. But that’s subjective too. And also for me, I used to shy away from that sound but now I really dig it! And I try to play the b5 myself cause I like the sound
@@LearnJazzBasswithMattRybicki thank you!!!
@@KrisDuerinckx with pleasure
Excellent explanation of harmonic genius jazz interpretation- improv in the moment!!!!
Thanks!
Do Terrence Blanchard version too!?!?
The Ron Carter mystery notes could both be passing sus chords ?
Yeah it might be possible - or it was just a passing thing. Maybe if I had a full transcription of what Herbie was playing in those exact moments we could “rebuild” the intention…but who know?
The turnaround discussion is truly excellent! The “Real Book” has caused a lot of confusion!
So glad that you got something from it. I wish it were the only answer to that section haha!
Practicing double bass through recording in my studio, definitely working with the same process - feeling good about that, thanks! That ‘no shift’ position is what I would always have been my electric bass go to position, the low notes on my double bass up there on what have been eight fret don’t sound very good, a shift probably worth it to me - in the studio… definitely like the Bb , OK on the I pattern too I think…. S truly warped cat might like the B on top instead of C ;-)
Practicing double bass through recording in my studio, definitely working with the same process - feeling good about that, thanks! That ‘no shift’ position is what I would always have been my electric bass go to position, the low notes on my double bass up there on what have been eight fret don’t sound very good, a shift probably worth it to me - in the studio… definitely like the Bb , OK on the I pattern too I think…. S truly warped cat might like the B on top instead of C ;-)
Haha that B would be crazy - love it. Thanks for watching!
I love Footprints
Me too
I love that tune, bro didnt get baseline if he was doing miles version or should I say Ron carters… maybe it’s just accented differently…
What did I not “get”? Did you catch the part of me talking about 2 ways to play the line? Did you want the actual full length video on my page?
Double bass all day. Love it
Yessir
Sounds like grand turismo 7
Hahah nice
Thank you!
Thank you!
thanks - I appreciate your posts
Glad you like them!
Yes it’s great! You played in very nicely too!!
Thanks a lot!
Thank you. I'm just at the beginning of my travel into the fascinationg world of jazz, my understanding is still limited, but I really appreciate your explanation.
Welcome! And thanks for your kind words
Thanks so much, such a great lesson 😄💙
Wow thank you so much for your generous words and gift!!
Get creative and drop the e to d (Ron Carter does this lots) and transpose an octave lower - fun on the electric bass! Works well with this tune - which compels me to share an anecdote from the early nineties when Dizzy and I were coincidently simultaneously relieving ourselves backstage - what an honor!!
Lol Wow love it
I 100% agree that all bass players should spend some time playing gut strings, if possible. You learn so much by committing to that vibe and figuring out how to make that work in different contexts. And you get that sound in your ear so your hands will figure out a way to make a similar sound/feel on any decent setup. It expands your tonal color palette in a way that nothing else will. Of course it's a luxury to be able to experiment like that in real life. But I do feel that in music school, bassists should have access to a gut string bass that is set up well, and they should spend at least a semester playing on it.
all well said!!
Wow man, I love your videos. They are always such a lot of fun. I’m light years away from being able to play Giant Steps, but I really enjoy the way you present the information and make it accesible. Thanks!
Thanks a million!
Cool. The most important thing as you know is the sound whereas I find myself often walking with the 2 fingers together on the quarter note. All your exercises do work with that approach as well. Thanks.
Yes exactly - thanks for watching and commenting!
Matt. I’ve been really enjoying your content. I just bought your ray brown book. I’ve been saving up for a double bass but don’t know if I’m supposed to get a 3/4 or 4/4 size. What do you play
Hey there - thanks for the kind words! I have a 7/8 and a 3/4. 4/4 are pretty rare and would only be rarely used with orchestras. The size depends on your own physical size. But the most important thing is that the bass sounds good and is set up well. Unless you’re particularly tall or small, size doesn’t really matter. A good luthier will be able to help you choose, but an even better resource would be a private instructor to help you decide. Good luck and thanks for watching!
Thank you sir, god bless. Looking forward to more of your amazing playing
This was a great idea-thanks for this, Matt! It was great to chat with you both! 😅
Thanks so much Jason - for your knowledge and participation!
back in the 70's I went to the er after a gig because my right hand was not cooperative, I use all 4 fingers sometimes thumb, I stressed my tendons badly, I did relearn to play lightly and let the amp do the work, rather than my hand make the sound I played. Once I did get it my right hand did relax and I was able to be lots more articulate and play faster. We did Johnny B Goode with our own rendition, I played 1/4 notes at 163 bpm, After changing my bottom to a cerwin vega 18": and adopting to it with lighter touch and let the equipment do the work, no more problems with the right hand. So long ago. I stopped playing after the last gig with a recording company and became a machinist, engineer, metal worker, sheet metal fabricator, electric boat engineer, electrician, electrical engineer, and today Aerospace . But I still play my basses almost every day. My Fretless is on fretless bass dot com 000364. The things being discussed is super important. AVOID any Surgery!!
Loved the topic, and will absolutely follow the advices and get the book. But something that I feel that was missing and is critical, is talk with your bass teacher and your luthier. I recently got a double bass on discount from a player who got it from a store, who took it home and just couldn't hack it. When I tested it, it was horrible and unplayable. After changing the cheap strings to some low tension strings, and adjusting the bridge I got really disappointed to the store where the other player got it, as they didn't know anything about double bass, and they didn't told it's original owner that the instrument was not ready for use right out of the store. Anyone playing like it was would not endure more than a month without injury. The amazing guitarist from argentina Ricardo Mollo recently: "I now choose guitars by how much they weight and not so much by how they sound".
Thanks for watching and your comment is totally spot on. That was an oversight on my part - thank you for bringing this to light!
@@LearnJazzBasswithMattRybicki Absolutely not an oversight. Rather, it's a topic that deserves more air time.
Absolutely necessary, I am 56, I think I need extra care now.
Me too!
Sharing my experience, I noticed that after 30’-40’ of practice I need to wash my hands in super hot water. After a couple of minutes of this treatment, I can play for at least another hour and a half. Unfortunately I can’t play every day so I think it is not possible for me to increase training hours for now.
FREE PDF: payhip.com/b/8u9JF FREE "Essential Bass Lines" List: payhip.com/b/B3VDr PDF BUNDLE: payhip.com/b/DAvGC Dr. Randall Kertz www.drkertz.com www.isbworldoffice.com/body-b... / @drkertztv The Bassist’s Guide to Injury Management, Prevention and Better Health www.drkertz.com/booksmusic Jason Heath / @doublebasshq contrabassconversations.com/g... doublebasshq.com Winning the Audition and Road Warrior Without An Expense Account www.amazon.com/stores/Jason-H... Longevity and the Bassist • Longevity and the Bassist 00:00 Intro 00:56 Welcome and introductions 03:15 Viewer question and Dr. Kertz response 10:37 Jason Heath initial thoughts 14:05 Discussing Dr. Kertz book 14:43 Discussing preventive measures 18:00 Discussing personal habits for health 25:11 Discussing surgery 32:28 Dr. Kertz history 35:24 Asking questions from Dr. Kertz's interviews with bass greats 44:05 Closing remarks
This is Great. One on my favorite performances is Joe Comfort on Sarah Vaughan's "when lights are low". I've probably listened to it hundreds of times but I am not skilled enough to transcribe the whole piece, have you done anything with this?
Ooh I don’t know this one! I’m gonna check it out ASAP!
Wonderful video, thank you!
Thank you too!
wow, great video. thank you so much for this
Thanks for watching!
Thank you.I’m interested
Thank you!
Hello!what are two book behind you? One is Ray brown book.what is other?
Hello! It’s a method book that I wrote for the publisher Hal Leonard! www.matthewrybicki.com/method-book
太棒了，台灣的bass students need you!
非常感谢！ 1999年我有幸来到台北。我爱台湾！
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!
This is such a great video! Love your channel! However I would like to make an amendment on the myth#5 that is about note choises. I think notechoises is actually very important in regards to "planning ahead" in your basslines. Its very hard to get the right feel if you cannot plan ahead longer than the next quarternote. It was during a longer period when I really made an effort to transcribe other bassists choises of notes (and feel of course) that I could eventually relax enough to get the proper feel for the music. I think that notechoises and rhythm are interconnected in that way. This was true for me anyway. I suspect that maybe I'm not all alone in this.
Hi there thanks for your very kind words and for watching! What you're saying here is an amazing level of subtlety that's really so true. The idea that you presented really blew me away, sincerely. But let me push back just a touch: given a *binary* choice between notes and feel, for argument's sake, a listener will "forgive" wrong notes exponentially more than they would forgive bad feel. Broadly, I wasn't saying notes aren't important (I mean, I know you know I wasn't saying that) but rather that feel is often under-valued in the equation and note-choice is often overvalued. All that said, again, what you wrote is wonderfully observant. Thanks again!
@@LearnJazzBasswithMattRybicki Wow! Thanks for the kind words! I really love this discussion ;-). I actually agree with you 1000%. My comment was just intended as an amendment and not any critique at all. But I do think one can complicate this just a little bit at least. I really think that "myth#5" has a given place in a list of myths like this! If any one forced me to make this choice at gunpoint I would easily choose rhythtm/feel over notes any day of the week. But I guess my thought was: Is it actually ever going to be that binary in reality? Maybe rhythm is the destination and notechoices is a vehicle to get there? Maybe one can look at it that way? I have no idea, but I think about this a lot as this opened up things for me so much in my own playing.
@@linusklevebrant6006 Yes I totally understand and agree! I think the "myth" was (like the others, but especially this one) about sort of just reminding all of us to stay balanced with note vs. feel. Especially those players who are maybe just starting on the path, the note thing is so hard, it often becomes a priority "accidentally". So the "myth" is sort of just a reminder I guess. I really appreciate your thoughts on this, thanks for talking with me
But you play a differend rythm, or did I miss something?
Where, my friend?
I recognise that one. Smart transition to Upright! 👍 Strength and stamina is necessary even if its not musically exciting at all. Great sound btw!
Thanks so so much!
another banger video. Matt doesn't miss.
I appreciate that!
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
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
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.
Thank you sir!
You bet!