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Jazz Bass Lessons: Electric Bass: Play Along: First Time

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So now we come to this tune first time,
that I wrote for you guys.
This one will help sort of put together
some of the things we've been working on.
We've been working on our two beat feel,
and our walking through changes.
We've been working on two
five progressions a bit.
And we're gonna play a melody.
This tune happens we're gonna
play the melody the first time.
We're gonna accompany the piano solo.
First, we're gonna play a two beat
feel through the whole form and
then were gonna walk
through the whole form.
This is called and
I'm gonna talk about the form in a second.
Then the bass solo is two
times through the form and
the piano melody at the end is one
time through the form and we end.
Now something about forms,
This is called an A A B form.
This is an old terminology.
It goes way back in classical music
as well from hundreds of years ago.
The A section as you can see if you look
at your piece of music here is four bars.
And it's repeated twice.
That's an A A beginning of the form.
The A section of the tune is four
bars repeated twice, hence A A.
The B section is eight bars.
And it's played once, A A B.
And actually in this case,
we decided when we recorded this backing
track to take it away from A A B A.
And just make it an A A B form.
So you play the first four bars twice and
then you play the second eight bars once.
That's A A B.
That's all it means
when people talk forms.
Sometimes there's an A section.
There might even be a B section and
maybe a C section even in the tune.
Or, like in pop music,
there's, like an A section.
Maybe, and then it goes to a chorus.
And maybe then, after that,
there's a bridge.
It's just to describe
the different parts of a song.
That's all it is.
I want you to think about how
I approach this melody, too.
Cuz I'm going to be playing.
Sorta laid back behind the beat.
I'm not gonna play, this is jazz music so
we're playing out of the triplet.
We're always thinking triplet,
triplet, triplet, triplet.
So, we don't play the notes very short and
cut off,
or very strict like you might have in
certain classical music where its very,
the notes are very tightly wound and
very precise.
Here we try to give that triple feeling
a relaxed feeling, a expressive.
Sometimes I might slide into a note.
I want you to experiment.
Trying to just look at what I do and
try to copy it a little bit.
I'm gonna do this first
pass through this tune and
I'm gonna try to play it very simply.
And even when I'm soloing,
I'm gonna try to play little phrases that
you can digest, you could start to think
wow I'd like to play that phrase too.
And I'm gonna play a call and
I'm gonna play a response.
This is what call and response is.
It's like a suggestion you play one idea,
you let some space go by and
then you answer yourself.
That's what the idea of call and response
is and it comes from the African tradition
of drumming where there would be
a literal call sometimes a vocal call and
a response.
Or the drums would do a call and
then the other drums would answer.
So, I know that's a lot of things,
but I'm just giving you some ground
work for what you'll see me doing.
And I'm gonna try to be
very clear about it.
Okay, here we go first time.