Welcome to our
At this point I really want to make sure
that you've gone through the beginner
curriculum, and really feel like you
have it in your hands, very strong.
Because it's a pretty extended curriculum,
the beginning curriculum.
It's not in any way,
towards the end of it,
there's nothing rudimentary about it,
when you get to the end of it.
You've dealt with all the keys,
major and minor.
You've got a technical formation
about sound production in both hands.
You've got some basic ear
training under your belt.
You've got some two feel,
you've learned about six eight.
But I really want to make sure that
you've got those things well in hand.
Because now, we're gonna be building
on that foundation that we laid,
and that's really important.
So in this section we're gonna further
explore the neck of the instrument,
we've gone up to about the D
on the G string at this point.
We're gonna go all the way to the end
of the normal positions on the bass,
right up to thumb position.
We're not gonna get into thumb
position until later, but
we're gonna finish off
the neck below the body.
And I really want you to have a firm
grasp in this section, on your majors and
minors, two octave scales.
Scales across the fingerboard.
Moving across, and scales in one position,
where we don't have any
open strings at all.
Or we're gonna have to learn how
to negotiate that, and be in tune.
And also wanna build on
your harmonic knowledge.
You've done major and minor triads with
inversions, now we're gonna be dealing
with some of the chords that are commonly
found in jazz music and I want you to
really have a good handle even at first,
here, of all those arpeggios.
So we get the basic sounds together, and
the ear training is going to reflect that,
too, in this section.
We're really going to be diving
into the sounds in jazz,
making sure that you understand them, you
can differentiate between major, minor,
dominant with some alterations, too.
So we're gonna do quite a few things.
We're going to develop these skills,
and we need to make sure that,
also, we that we delve deeply
into walking bass lines.
How do you construct them?
The concept behind walking bass.
We're gonna deal with how we can compose
walking bass lines based on cells,
little four note cells.
Which is like four quarter notes in a bar,
that show how to connect chord
changes using the root on the beat,
using the third of the chord, the fifth
of the chord, the seventh of the chord.
Using chord tones, scale tones, and
even passing tones to
develop great walking lines.
In this section we're really gonna
challenge you also to really do some
shedding with your recordings.
Go and listen to Ray Brown
with the Oscar Peterson trio.
I need you to listen to Ron Carter
on those West Montgomery records.
We're gonna tell you
some things to check out.
You need to look in to
Paul Chambers with Miles Davis.
Oscar Pettiford with Thelonious Monk.
There's some great masters
that can really inspire us
to deal with the bass in
a jazz focused manner.
But you really need these tools to
help you to deal with the music.
You need technical tools, you need ear
training tools, you need sound production.
You need all of it.
And I'm here to help you with this.
And we're gonna do it step by step, so
you can really feel like you're getting
things under your belt,
one step at a time.
And we're gonna have some fun.
There are gonna be some play alongs.
We're gonna get into some styles of music.
We're gonna continue to
develop the styles in swing.
Two beat, a little more six eight,
We're gonna do some Brazilian.
And maybe even a little cha-cha this time.
Okay, so here we go.