Learn From The Masters #1 - The 2-Feel - Sam Jones Transcription

[@Jordan_The_Noodleman]

Was planning to transcribe this, nice one!

[@chodaldomination]

Whenever I listen to two feel basslines I notice it's very common to throw in a 'four to the floor' walking bass fill as a lead in at the end of sections or just at the end of a multiple of 4 bars (usually the 4th, 8th, 12th, bar etc.) I think this is what he is doing at the end there.

[@jodi183]

Nice analysis. Understanding how all these chords function is important. Range, too, is often overlooked. The 2-feel has a certain weight to it that really does require playing in the lower register of the intrument as you point out here. Bassists constantly have to consider range. How will playing in thumb position vs playing in the lower register affect the sound/feel/energy/weight of the music at any given time?

[@Massigangster]

Hi Jared! What happened to all the other walking bass videos? I can only see this one and number 17! GREAT WORK!

[@JaredPlane]

They're all still there...

[@OldBeatleMan]

Nice work Jared ... hope you do more like this ... a Paul Chambers line would be cool. Thank you

[@R9Raf]

How does pedalling the D on the A min b5 work? The D is the fourth of the chord and that's supposed to be dissonant, right?

[@theendmyfriend]

Its just thinking of the bar as a Vb9 chord. Its fairly normal in 2 5 1 to just play the 2 or the 5 over both chords especially when the change is quick. Its a bit unusual here as its minor key and slow tempo so the effect is somewhat pronounced. Its bout the key area not about every chord. Dm -G7. Dm over G is just G9 or 11 if you go Dm7. In this case its no longer thought as Am7b5 but its just a dominant of key D7b9 creating interest disonance resolution and extending the cadence for extra bar

[@theendmyfriend]

Classical functional harmony tonic dominant pitch axis. The Bass D is not an extension of Amb5. The Amb5 is an extension of the Bass note D because it is functioning as Dominant to Tonic resolution cadence. Very common late 17th 18th Haydn Mozart Beethoven. There in renaissance Bach Purcell Vivaldi etc mixed with contrapuntal counterpoint fugue style and later romantic Schubert Schumann Wagner mixed with non functional harmony sound 'picture' 'painting' 'feelings' 'modalism' moving onto breaking classical system harmony structure pitch cells serialism in modern era. Schoenberg Stravinsky. It thrives in Classicism as provides simple dichotomy philosophy and proportion symmetry to form. Sonata form being a prime example.