Total Dominants: Using Triad Pairs on a Blues
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- Опубліковано 29 січ 2025
- FREE PDF follow along to the video - openstudiojazz...
Learn how to make the most of Triads and Triads Pairs with Bob DeBoo's Bass Triads System - openstudiojazz...
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What a way to start the day, thanks. How could you not be a jazz bassist with a name like Bob DeBoo, that is the swingingest name I’ve ever heard…and will now use it to practice the triad pairs. 😁
Love it! It's not a stage name, I promise. Thanks for watching and I hope it inspires some shedding! All the best, Bob
Wait, isn't "boo" old time slang for weed?
I’m a guitarist, not a bassist, but this is the best breakdown of how to get triad pairs under your fingers. Many thanks
thanks for watching Ken and I'm glad it was helpful! -Bob
I am a guitar player and loved your tutorial. Excellent, clear and simple. Thank you!
Sax player here, “of course “. My first time here. I’ve always found bassists thoughtful. Love how you coordinate rhythm job with soloing . Now, those minor triads you first executed invoke El Diablo en Musicum. You swing, Dude. I was the theory 3 and 4 curve breaker at my college and your comfort level and speed with explanations, while fluid and concise as well as being informative, scared the shit out of me. You rock at math, too, don’t you, you beast.
LOL! You're killing me Stan : ) Definitely no math wiz, but I do love the bass. Thanks for watching and for the awesome comment!
I learned basic piano and played in a college band with some friends. As a teen I played the bass. When I went off to college I put it down but never stopped listening critically. In 2005 I picked up the bass after being off it since I went off to college and so now I'm doubling down on my musicology. Open Studio, for me is the best thing since sliced bread. Between you and Peter... (bass and piano) I'm catching up on everything I missed. Thank you and keep up the good work. BTW I just forwarded this clip to my college buddy bassist. Thanks to UA-cam and Facebook.
Hi Amoti! Thanks for watching and for your comment here. If you have any suggestions for a future video please let me know! Happy Practicing -Bob
What a great teacher. Thanks for this. I really learned a lot from this. You have a great way of presenting things.
Jeez, man! You're an amazing teacher. And so humble and giving. Plus those F/B triad pairs somehow reminded me of Paul Chambers' lines... for some reason? I'm not skilled enough to know exactly WHY they sound this way to me, but anyway, thank you, Bob. Thank you OS! 💖
One of my favorite vids so far.. Thank you!!!!
I like how you explain this - Jazz Duets opened my mind to this stuff & you have embellished it in a way that makes so much sense, thank you!
Glad to hear this Andrew. I've been meaning to go check out more Jazz Duets stuff, their videos are great! Appreciate you watching and thanks for the comment. 🙏
@@bobdeboo8549 😊 👍
Ah hell yeah... DeBoo's in the building!!
i love working on this stuff with a great bass player like Bob.
Thank you!
BTW - very impressed that you can talk and play so well. Very good!! Thanks.
🙏🙏
Once I got past the enharmonic spellings I heard the C minor to D minor as a wonderful approach to the F13 chord. I'm keeping this! Of course I'll work these pairs in all keys. Nice man! Nice!
Thanks Don. Appreciate your comment! -Bob
Great session, thanks!
Thanks Bruno!
This was really helpful.
MAN!!! I'm glad I clicked on this. The primary sound of triads fused with intriguing relation to the harmony (as opposed to boring relation) which is how my triads sound. Then I try to do a scale to make it cool and it SUCKS lol
Glad to hear it Dan! Thanks for watching and for the comment. Happy Practicing! Bob
Bob I haven’t said before but you are great, so clear, thanks so much for all you do.
Thank you Andy!
*****Great material Bob. Fundamentals MATTER. Not sure what's more fundamental then playing Triads...maybe open strings. I'm inserting this into my daily practice routine.
Thanks!!!! I´m learning with you. It´s clear and sounds pretty cool. Now is time to fix it into rockabilly sound. Thanks again.
Thanks Bob. Lots to work on. See you Saturday.
Thanks Chad! See you at the Saturday bass gps
Great lesson thanks I finally understand jazz bass lines better now
Thanks for watching Sam!
Excellent presentation as always. thank you!
thanks David!
Really great lesson. So clear. Thanks
Great lesson! Very well explained! Empowering!
Thanks for watching Amery
thanks very much for the great lesson and the PDF
My pleasure John. Thanks for watching!
Excellent and very useful lesson. Thank you.
Amazing lesson. ❤
increadible stuff! thanks Bob!
Thanks for watching!
This is something I’ll be using on my next solo!
Grateful 🙏
Like this very much! Thank you
Great teaching style
Thank you 🙏
Thank you for what you do!
Thanks Jon 🙏
Hi Bob, hope you and the family are doing well.
Hi Jim! Doing well my friend. Thank you 🙂
awesome lesson, thanks
Thank you for watching!
Wonderfull Bob 🙌🏼🙌🏼 thanks 🙏🏼
thank you Jesus!
The Wizard of Oz song, If I Only had a Brain, popped into my straw head. Now I can't unhear it.
Relatable comment right here! Lol 🤣
Thanks Bob
Thanks for watching!
This is a great lesson, thank you! Question, that I can never seem to see in the video lessons on this that I've watched: How do you know which triad pairs to choose? I get what a triad pair is, but is there any type of reason to pick certain ones? Like, are they triads taken from the chord tones? Are they usually diatonic or can you do parallel major/minor? Those triads over F13 sound great but how do you choose those two? Is it just trail and error and what sounds good? Just curious if there is a way to grab these quick over certain chords...Anyway, back to the woodshed and cheers from the Yukon
Hi Bob..great job...very well explained ...thanks a lot.
Can you tell us who is this sax player who introduced you to this concept ?
Hi David. Thanks for watching and for your comment. The saxophonist's name was Wayne Delano. An incredible musician in the Dallas/Fort Worth area that I was lucky to play with a lot when I was just getting into playing back in the early 2000s.
One thing I do not get, maybe someone could help me: (Min. 13:37) The chord is F13(b9b5) . The 13 of F is D natural. On this chord he uses 2 triads: F major triad and B major triad. B major triad has the D#, dissonant from the 13 of F (D natural). Am'I loosing something? thank you. Uh, a last thing: on IReal Pro is not possible create a chord like F13(b9b5). Just F13(b9)!
The D# or Eb is the dominant 7th in this chord. Hope this helps.
Hi, thanks for the great content. What strings are you using? They really sound like gut
good lesson thank you
Thanks for watching 🙏
Deboo DeeBop!
great stuff. It is hard for bassists to zip through triad pairs the way horn and piano players can do. But, a cool sound, worth working on. BTW - the PDF download didn't work for me. Just me? Or others??
Hi! Thanks for watching and connecting. I'll let our open studio people know that the pdf download didn't work.
Really great thanks. Is it normal for the bass to play second pair of Quavers straight after the swing on the first 2 quavers. Thanks Rob
Thanks for watching Rob! Not too sure on your question, but I'm open to a discourse... let me know🙂
Anyone knows a good book for bass players related to this subject ? Thanks
While it's not a "bass book" - the first book I came across was called "Intervallic Improvisation" by Walt Weiskopf. It's all in treble clef, but the concept is the same. If you find a good bass version please let me know.
@@bobdeboo8549 I was going to suggest the same book. A fountain of knowledge! Great video btw Bob!
@@bobdeboo8549 give me the link
Thanks so much for sharing hope you are well God loves you deeply Shalom 🤗🐼❤️✝️💐 Philippians 4:8
Your PDF would not open for me. Not sure what a security latch you have on it.
Thanks for letting me know. I'll pass this on to our team and get it fixed asap. 🙏
Thanks 😊
Thanks Simon!
Love this lesson but I'm a bit confused as to why you have a natural 5 (C) over the F b5 chord. Doesn't that clash? Shouldn't you stay away from the natural 5 on a b5 chord? Thanks!
The chord written with the b5 would suggest an altered sound, but he's going for a dominant diminished sound which is 1 b9 #9 3 #4 5 6 b7. So not really a Cb, but a B... Same note, different context, different sound.
Hi Kris! Totally valid point. It works though. Kinda like how you can add a #9 and b9 at the same time - you can do that with the 5ths too... how does it sound though, right? Best, Bob
Good video..
It would be better if we play onF13(b9/b5) F major triad and Cb major triad(enarmonico)in order to understand (b9/b5) much better 👍🎶🎵
i hear you...but I will never think of it as Cb personally. It's all about the quickest/easiest way to get the sound. It's all going to go by so quickly anyways! Thanks for watching and for comment!. Peace, Bob
hi bop the link is not valide
sorry to hear that Nestor. The link just worked for me. Have you tried it again perhaps?
Thxu🙌🏽🙌🏽🙌🏽
Thanks for watching!
4:18
13:30
My question is this: How do human beings play a bass instrument without frets? I need to learn bass
That's definitely a big issue for newer upright bassists... perhaps check out my "where are the Notes" course
@@bobdeboo8549 I will check it out...
Simple, powerful ideas, definitely not simplistic.
Thanks 🙉
Useful stuff, but too many unanswered questions. "The two triad pairs we're going to put over F13 are C minor and D minor." Where did those come from? Of all the triads available, how did you choose those two? Should triad pairs always be a step apart? Should they always built off the fifth and sixth degrees of the scale? Why minor? Why not use the F major triad for the F13, and if you did, which other triad would you pair it with? The devil is in the details.
There are many possibilities. He demonstrated a very inside one and a more outside pair. There are many more.Use the ones you like.
It would take a lot longer than 25 minutes if he had to teach everyone music theory. This is not a complete curriculum for jazz bass, its a 25 minute video showing one concept. Not trying to be rude but if you are gonna make a Quick video about triad pairs on a blues you have to assume the audience knows the basic theory, otherwise you should look elsewhere to learn about jazz music theory
A simple trick (I think I learnt it in a Jens Larsen video on triad pairs) is that if the scale of the chord has an avoid note,
your first triad can be the one that starts (in root position) one scale degree above the avoid note,
and then your second triad starts one scale degree above the start of your first triad (or two scale degrees above the avoid note)
Then you have picked two triads with 6 notes, out of a 7 note scale, and without the avoid note.
Example: a C major chord, in the role of a tonic chord, has F (the 4th of the scale) as an avoid note.
One scale degree above the F, you have a Gmaj triad (G B D), and one scale degree above G you have a Am triad (A C E).
That's two triads with all the 6 "non avoid notes" from the 7 note scale
But as Tom email said, there are many posibilities.
Bob's choice of the Cm and Dm triads for the F13 chord matches this method if use it to pick a triad pair from the F mixolydian scale (which has the avoid note Bb). But that't not the only scale you could decide to chose a triad pair from.
@@vilhelmtanner6544 I know theory quite well, thank you, but theory doesn't explain the choice of those two particular chords as triad pairs.
@@orritomasson6781 Very helpful. Thank you.
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Bob DeBoo?
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i know, right?! lol
@@bobdeboo8549 talk about onomatopoeic XD
@@alfieharries ha! nice
Bob, ‘love your name! “DeBoo,” because of course, in French “DeBoo” (debout) means Stand up! 😊
How in da fuk do you know what notes your playing without frets?
Dude,,,, over 4 minutes to get to the main stuff,smh I'm out
C'mon man get to the point ,geez why do these people like to talk so much just show us the thing without telling a story