Walking Jazz Standards #5: "All The Things You Are" - Bass Guitar Lesson

[@mengfrank809]

this guy is ruthless and coldblooded.

[@OldBeatleMan]

Thank you Jared.... Your videos are very well presented and helpful.. Peace

[@stogiechomper]

As an aspiring jazz bassist, your videos are the most helpful that I have yet found.

[@vitorags4229]

Thanks for these videos! I’m just getting into walking jazz and have discovered your videos.

[@henrybonruiz]

Thank you very much.

[@leorojas3274]

Thanks for the videos, I really appreciate your work

[@ig7061]

really fantastic line

[@-ico-8074]

Well explained, thanks for your awesome work

[@ucopiedyibo1959]

You’re awesome thanks

[@LionelAlbert]

Nice lines, nice sound, thanks for sharing !

[@antoniocassina8754]

Beautiful lesson! Thank you

[@floouk]

This is sooooo depressing because it makes me realise how little I know.

[@pipeline555]

great videos

[@peteryu6931]

good lesson, its useful for ke,happy new year

[@gerardclaude1652]

Thanks

[@gmtgsong4635]

Hi JPlane! Just now getting into jazz, re walking bass, it seems like your priority is for the smallest connecting intervals from beat 4 to new chord beat 1, regardless of the inversion of the new chord. When might you prioritize the root note for example instead of 3rd, 5th or 7th, wouldn't the root sometimes solidly establish the new chord and that be a good thing? I guess the larger question is do you ever sketch out and target the best inversion, root or otherwise for the sound of the new chord on beat 1, before you compose your lines. Thanks for all the lessons you post and any guidance you may have on this particular question, I appreciate it!

[@JaredPlane]

Thanks gmtgsong. The smoothest ways to connect chords are by playing the nearest chord tone between beat 4 and 1, and playing root note to root note, as you mentioned - such as G to C for G7 to Cmaj7. Generally, larger interval transitions don't sound as smooth, but root to root movement is the exception (this is for cycle 4 root movement, ie 251s). Hope this answers your question.

[@gmtgsong4635]

Thanks so much for replying so quickly , Jared! In this lesson (all the things you are) above, your baseline examples mostly choose an inversion for beat 1. Is that desirable or is it just a function of the Matrix (great movie, I agree) you describe. So is this primarily an exercise?, or 'rules' and something to strive for in most walking baselines? Sorry if I'm not clear, I'm still a little confused and loving learning about walking bass. In general, Is it better to aim for the root note on beat 1 and and then perhaps also add an occasional inversion on beat 1 to add interest and flavor? Thanks again for your teaching!

[@JaredPlane]

It's just an exercise. You wouldn't want to play like this all the time. In general, you want to stick with the root notes on beat 1, mainly so your band-members always know where they are in the form - but you can throw in the occasional inversion as well.

[@gmtgsong4635]

Thanks so much for clarifying, Jared, I get it now. I wasn;t sure partly because what you played as the exercise sounded good as well! I appreciate the quick responses from such a good player and teacher. Tom

[@patrickrushton]

@@gmtgsong4635 Yes, just an exercise in my opinion. Take bar 4 of the matrix - playing a G on beat 1 of an Abmaj7 just doesn't sound good and likely to throw off the rest of the band. The 5th or 3rd can certainly work on a strong beat.

[@ohtravo997]

thank you dawgie, in the case that i dont have a 5 string am i still gucci with most of this material?

[@JaredPlane]

Yes, all lines are composed for the standard 4-string. Thanks! 😀

[@marclaurent3466]

hello Jared . Marc from France .Interested by learning how to improve my walking lines... could you give me advices (books, internet ...etc) for what you call The Matrix. Seems to be excellent for getting better in the scales visualisation on the fingerboard .... Thanks in advance ! Marc

[@nusicatoptv]

Muito bom! Show!

[@leorojas3274]

Maybe I wrong, but I think the 30th bar, it's not Gb7, it's Db-7 (the four degree but minor, it's a really common progression IV, - iv, iii = Dbmaj7, Db-7, C-7)

[@JaredPlane]

The 6th edition real book has Gb7, but I'm sure other versions have Db-7. Harmonically, the two chords are very similar. Thanks for watching!

[@leomorales1764]

do you write the lines?

[@JaredPlane]

Leo Morales Yes, I write all the lines myself.

[@RayPaganJr]

I wish I knew how to read music. At 61 I’m only doing tabs.

[@jazzbrew68]

Hey Papo - I'm 51 and just learning now. There are some really good book out there to work from. Just spend 15 minutes on it daily. Definitely worth the effort to have access to all the written music out there.

[@RayPaganJr]

Eric Brewington I tried for two weeks to find a teacher from these different web sites. They are really lame. They want you to book lessons up front for a certain amount per hour and five minimum. I’m not doing that without meeting the person to see if we click, what music he/she is into, how they teach, etc. I’m certainly not going to the music schools where their main focus are children. I’m gonna continue with what I’m doing and enjoy myself. BTW, just ordered a Fender American jazz bass.

[@jazzbrew68]

@@RayPaganJr smart move. I would never pay for lessons up front until I've taken at least one lessons with someone first. The Fender American basses are fantastic.

[@なし-q1s]

4:30

[@ianmackenzie686]

Many thanks for this! In particular I appreciate the music notation. I loathe "tab."

[@moonn4108]

the walking bass is just great , the only thing i don't like , is the lots of editing , after each word , and the overly serious look you give .

[@saxman3336]

Forget about the serious look, and concentrate on learning your stuff instead.