SCOTT!!! Stop being good! No, no...don't STOP, just.........what!? You're awesome! Thank you for sharing information others charge countless amounts for! I've seen all your videos you've posted on youtube to date and all offer gems of knowledge most "teachers" can't accomplish! Keep it up!
I used to have problems with english, but music is an universal language ;) Now I am getting better and better with your lessons and you will see that I will be a great bass player soon! Thanks Scott!
A month ago I couldn't play a walking bass line.. and in just a few weeks your lessons have helped me to learn the basics, all the way through to modes and accidentals. Your lessons are incredible valuable to me, and I'm glad to have had the experience of watching! Thanks Scott, You da man!
@thephunk1 LOL! Oh man thanks for the really kind words!!! I really love hearing about people that are enjoying my tutorials. Thanks so much again. Ez, Scott.
This was probably the most helpful lesson on how to write a walking bass line. I guess I need to learn to think in chord tones and not necessarily scales.
I always wondered how those jazz greats of the bass made a static chord sound so interesting, and why once, a few years ago, when I was REALLY just learning, a sax player looked at me, (not at anyone else in the band) when we were playing So What, and said, 'Can we stop this now?'. It's taken me this long to realise that by me just sitting on the tones of the ONE chord, without diverting in any way, it inspired him, no end.... NOT. Thank you Scott. It's all starting to make sense!
Scott, Thanks so much for making so much of your stuff available on UA-cam. I'm a total newbie to bass and modalities. For my memory and any others like me I'll mention here that any Dorian "scale" or modality can be identified by considering the root of the Dorian mode as the 2nd of a major scale. So "D Dorian" is all the notes of the C major scale but starting on the D ,or C's 2nd. "A Dorian" would be playing the notes of G major but starting and ending on A. "F# Dorian" is E major but played with F# as the beginning and ending, that is to say the root. Thanks for helping me finally begin to learn about modalities.
@sounder88 We are playing in D dorian so... Its in the key of C major. Just think of it like this... The C major scale is C D E F G A B. Each note of the scale has a chord built from it. The chords of C major are... Cmaj, Dmin, Emin, Fmaj, G7, Am, Bm7b5. All i'm doing in this example is playing over the Dm chord. The second mode of the C major scale is D Dorian. Hope that helps man. Ez, Scott.
Wow Scott, this is a breakthrough lesson for me. Just walk with the minor and stick in a VI II V I turnaround like in the jazz blues walking lesson (with leading tones) and mix it up all over the board. I'm already groovin and discovering all sorts of cool variations. Thank you!
This is great, despite what the haters say! I actually like this better than the more recent vids where you have to prance around more to keep the algo happy.
Thank you so much! Such a great lesson, have been taking notes like crazy. I've been struggling with learning jazz for a full year now, but haven't found a good source of knowledge. Until now! My walking has used some work, but has been okay, but thinking outside the box like this is what I truly needed.
Scott, I just bought a 5 string fret less, can't wait to try , It's being shipped to me. I recently have been playing a 4 string p-bass. Been playing guitar for a long time and I wanted to learn about the bass......I'm so stoked I found your site here.....I'll be returning next thursday when it arrives !!!
@trollgoal No it's fine, it just depends what beat it lands on. If you put a Dm7 vamp on and literally walk up and down these notes... D,Db,C,Db and repeat it over and over it will sound fine against a D minor vamp. Saying that if you were to walk down the entire dorian scale but with passing tones and used the major 7th as one of these it would sound weird because you'd have to play the thirteenth of the chord on beat 4 of the first bar... this would sound a little strange. Scott.
Paul Chambers did a fine job playing modally over So What. If it's good enough for Mr. PC it's good enough for me haha. The impression of the entire track would have been very different if he was playing ii - V's
@@electorize hey I actually just transcribed some of Paul's walking, he actually mostly plays a ton of the sort of lines Scott was talking about in the beginning, in fact, Chambers repeats that exact "d-c-b-a#-a" movement a TON (because its a great bassline that people love haha). Other than the A# over the D minor sections and B natural over the Eb minor sections to create that smooth descending motion, he actually stays mostly firmly within the Dorian mode. He also plays plenty of skips and while most of the motion is stepwise, he'll occasionally put in some leaps and register changes to keep things interesting. Very tasteful playing, not flashy but consistently fun to listen. Hope that helps man.
@devinebass. Thanks for the clarification. I understand modes...but I get hung op on keys because I am learning to improvise. your lesson has shown me that I can even play some notes that are not technically in the key, but sound good. Great Job!! looking forward to many more
A member of our band recorded a recent gig we did. The usual nothing-fancy-no-one-listening jazz gig. OMG, my playing on Impressions was embarrassing for me to listen to. The amount of times I was 'run out of notes' was ridiculous. The thing is, I watched your vid last year I think, and didn't learn the lesson. Time do some work in the shed.
Ah, I've been told not to walk chromatic stuff over so what before because it 'wasn't about that' or something. But this kind of modernised my head a bit next time I play this tune I'll sound a lot more colourful! Thanks a bunch!
I learned something today, thanks Scott! And yea, playing the 4th of that chord on a strong beat is not that bad if you follow up by more chord tones later.
You are correct, the ii V7 is not diatonic to Dorian, it just underscores the root motion of ii V7 i. In other words the minor ii V7 is used because of its function, not because it is diatonic to the tonality.
he actually said that you play a D dorian over the Dminor (using the example of So What... it's only 1 minute into the video... just listen). Regardless, the actual answer (I asked my bass teacher) is just that even though most cats play D dorian over the Dm (even if it's the 1 chord), the 2 is just always a half-dimished chord in a minor 2-5-1 jazz progression. It's just the way it is. But in theory, if you are playing a D dorian (which Scott clearly said), then the E would be phrygian.
that was clearifying! thanks so much! really! it really opened my mind about some things... when you came up with the E half diminished in the fouth time... it was almoust genius! i found your channel and videos just today, and i think you are pretty good as a teacher, you can make simple, very unusual thoughts! keep up, forever!
... but for the purposes of playing jazz, standard practice is to play the 1 chord as a dorian mode, but it still serves the purpose of being aeolian, hence the 2 chord being a half diminished (or locrian)
Great lesson Scott. I occasionally had to flick back and rewatch bits when I realised I was getting distracted by your computers screensaver in the background though :)
Everyone always talks about scales and tries to approach jazz music from a scale point of view. No one in the 40s, 50s, and 60s (the era of Jazz music) approached Jazz from a scale. Everyone wants to play like Ray Brown, Wes, Parker, etc, but that is NOT how they approached Jazz. It is all about the HARMONY and understanding CHORD TONES! Even for walking baselines. Carol Kaye said it best, NO ONE played scales and Jazz musicians didn't even want to play with musicians who played scales.
@@alexmillette1054 Now thats not to say that one does not play NON chord tones. But they are on the weak beats as passing tones. But any good jazz musician does NOT see the walking around scales but instead sees the chord shapes and uses non chord tones sparingly.
Hey Scott, I've been sitting at your feet for about a month now, and I MUST say, I'm a far, far better player for it! I've applied many of your techniques and used your drill exercises for walking bass, etc., ascending and descending minor third scales work, I can't get enough! Every time I look for something new to work on, your vids are here for me, and I really appreciate it! Nice bass face at 4:05 ha!...Anyway, thanks again and that sound at 2 am coming from the woodshed in Seattle? tis I
Hey Scott, great video! I'm wondering if you could clarify something for me real quick... If you're playing D dorian, then wouldn't the E be phrygian and not locrian (or half-diminished)? That's the only thing I'm not fully comprehending. Thank you so much!
Scott, I love your lessons, I've been checking your videos for months and even though I am a working professional, I love watching even your Beginner videos. However, I must disagree with you when talking about imposing the ii-V on a tune like "So What": the idea about modal music is that there is no "progression", no movement, no tension and resolution, no dominant chords with tonal functionality. By the time Kind of Blue was recorded, Miles always asked his musicians to think of what they would play over a tune, and to don't play it, to play beyond what they think. By imposing ii-V's, you will be asking a soloist to play the same ideas he or she would play over "Softly, as in a Morning Sunrise", "Segment", or similar, the exact opposite of what "So What" demands.
Agreed. The most obvious reference is Paul Chambers' bass playing on the original track. He doesn't impose ii - V phrasing, and if he did the entire impression of the track would have been different.
That was a useful comment as I'm starting to learn it with Dan with his tutorial, and he doesn't talk about the ii-V ... I'm thankful that there isn't one as it makes it easier to play :)
One Question: When playing a II-V-I in dorian, shouldn't the II be a normal minor chord? For example: in D-Dorian, when you play the II it's an e minor chord and the fifth of that would be a b. But if you play the IIb5 the fifth would be a b flat which isn't in D-Dorian.
he's doing a minor ii-V-i, which is where the half diminished comes in. Sometimes when doing chord substitutions, you play outside just a little bit, as long as it sounds good, it works
Marius Orehovschi right, you still want that V7 to i resolution, so most play that as a dominant chord, but minor harmony gets really interesting one you start thinking in terms of not only major modes, but harmonic minor and melodic minor, too. I need to brush up on that myself
Scott, you are playing a 5-string with a high C instead of a low B! I was so confused when trying to imitate your chord shapes and harmonics, I'm so used to seeing that low B with 5 instead of the C. Sneaky...
gadzintu I don't know about videos, but if you listen to what he's doing, the note after the 'pop' is on time, on the beat. So the pop is thrown in just before the usual note - you basically unfret the string (you're often already moving from one note to another), and just before you put your finger down to fret the next note, you play the open string. And immediately after you play the next note on the beat. It's a feel thing really, that *dum dum dum ba-dum* swing rhythm is really common. Listen to what he's doing and try to copy it - you can just walk up four frets if you like, and before the 4th note, drop in that little pop. You get it in other styles of music too, often with the note muted instead of open - gives a more percussive thumping rhythm to what you're playing
+Caio Cesar Marinho Maia It's like putting quick fret on the strings, it reduces the friction ( lets him move around faster) and helps the strings last longer by keeping dirt and sweat from his hand off the strings. He's using a really thin sleek glove here made of that synthetic stuff, but you can use fluffy gloves too and you get a rounder muted sound from it. *Edit: Can't actually tell whether he's using the thin gloves or not in this vid actually, but if you've seen his lessons when he's wearing the red glove? That one is thin and tight on the hand so it doesn't mute the strings
+thatwas deepnigga Scott suffers from a condition called Focal Dystonia, which affects the nerve endings in his fingers. The gloves help Scott a great deal with this condition.
SCOTT!!! Stop being good! No, no...don't STOP, just.........what!? You're awesome! Thank you for sharing information others charge countless amounts for! I've seen all your videos you've posted on youtube to date and all offer gems of knowledge most "teachers" can't accomplish! Keep it up!
I used to have problems with english, but music is an universal language ;) Now I am getting better and better with your lessons and you will see that I will be a great bass player soon! Thanks Scott!
A month ago I couldn't play a walking bass line.. and in just a few weeks your lessons have helped me to learn the basics, all the way through to modes and accidentals.
Your lessons are incredible valuable to me, and I'm glad to have had the experience of watching!
Thanks Scott, You da man!
@thephunk1 LOL! Oh man thanks for the really kind words!!! I really love hearing about people that are enjoying my tutorials. Thanks so much again. Ez, Scott.
This was probably the most helpful lesson on how to write a walking bass line. I guess I need to learn to think in chord tones and not necessarily scales.
I always wondered how those jazz greats of the bass made a static chord sound so interesting, and why once, a few years ago, when I was REALLY just learning, a sax player looked at me, (not at anyone else in the band) when we were playing So What, and said, 'Can we stop this now?'. It's taken me this long to realise that by me just sitting on the tones of the ONE chord, without diverting in any way, it inspired him, no end.... NOT. Thank you Scott. It's all starting to make sense!
Scott,
Thanks so much for making so much of your stuff available on UA-cam.
I'm a total newbie to bass and modalities.
For my memory and any others like me I'll mention here that any Dorian "scale" or modality can be identified by considering the root of the Dorian mode as the 2nd of a major scale.
So "D Dorian" is all the notes of the C major scale but starting on the D ,or C's 2nd. "A Dorian" would be playing the notes of G major but starting and ending on A. "F# Dorian" is E major but played with F# as the beginning and ending, that is to say the root.
Thanks for helping me finally begin to learn about modalities.
@sounder88 We are playing in D dorian so... Its in the key of C major. Just think of it like this... The C major scale is C D E F G A B. Each note of the scale has a chord built from it. The chords of C major are... Cmaj, Dmin, Emin, Fmaj, G7, Am, Bm7b5. All i'm doing in this example is playing over the Dm chord. The second mode of the C major scale is D Dorian.
Hope that helps man. Ez, Scott.
Wow Scott, this is a breakthrough lesson for me. Just walk with the minor and stick in a VI II V I turnaround like in the jazz blues walking lesson (with leading tones) and mix it up all over the board. I'm already groovin and discovering all sorts of cool variations. Thank you!
Thank you so much for sharing your knowledge! you are an excellent bass player but also a very good teacher.
Here from Spain!! Thank ypu for your lessons. You are Amazing!!
This is great, despite what the haters say! I actually like this better than the more recent vids where you have to prance around more to keep the algo happy.
Thank you so much! Such a great lesson, have been taking notes like crazy. I've been struggling with learning jazz for a full year now, but haven't found a good source of knowledge. Until now! My walking has used some work, but has been okay, but thinking outside the box like this is what I truly needed.
Scott, I just bought a 5 string fret less, can't wait to try , It's being shipped to me. I recently have been playing a 4 string p-bass. Been playing guitar for a long time and I wanted to learn about the bass......I'm so stoked I found your site here.....I'll be
returning next thursday when it arrives !!!
Brilliant! Such a great presentation of immediately useful and easily adopted practices to mature ones sound in very short order.
@trollgoal No it's fine, it just depends what beat it lands on. If you put a Dm7 vamp on and literally walk up and down these notes... D,Db,C,Db and repeat it over and over it will sound fine against a D minor vamp. Saying that if you were to walk down the entire dorian scale but with passing tones and used the major 7th as one of these it would sound weird because you'd have to play the thirteenth of the chord on beat 4 of the first bar... this would sound a little strange. Scott.
Wow!!!
Fantastic Study Scott.
Excelente aula ...
Valeu.
Paul Chambers did a fine job playing modally over So What. If it's good enough for Mr. PC it's good enough for me haha. The impression of the entire track would have been very different if he was playing ii - V's
thats true it changes the tonality slightly
So what did Mr. PC play?
@@electorize hey I actually just transcribed some of Paul's walking, he actually mostly plays a ton of the sort of lines Scott was talking about in the beginning, in fact, Chambers repeats that exact "d-c-b-a#-a" movement a TON (because its a great bassline that people love haha). Other than the A# over the D minor sections and B natural over the Eb minor sections to create that smooth descending motion, he actually stays mostly firmly within the Dorian mode. He also plays plenty of skips and while most of the motion is stepwise, he'll occasionally put in some leaps and register changes to keep things interesting. Very tasteful playing, not flashy but consistently fun to listen. Hope that helps man.
Sunny Afternoon !
Shout out to Moby on Bass. Another great video Scott.
@devinebass. Thanks for the clarification. I understand modes...but I get hung op on keys because I am learning to improvise. your lesson has shown me that I can even play some notes that are not technically in the key, but sound good. Great Job!! looking forward to many more
@sounder88 Oh yeah... you can definitely play notes that aren't in the key... it's all about the way you resolve them. Easy man, S.
and the thing about the approach of the fifth, going below, i too, found it very fun, beautyful, and great to do!! :)
@hahabass Hey man... great to here that it's starting to make sense for you! Keep watching... there's more tutorials on the way! Ez, Scott.
Scott thanks for sharing your God given talent...may God continue to give u blessings...peace...
Thank you so very much for your walking bass lessons
A member of our band recorded a recent gig we did. The usual nothing-fancy-no-one-listening jazz gig. OMG, my playing on Impressions was embarrassing for me to listen to. The amount of times I was 'run out of notes' was ridiculous. The thing is, I watched your vid last year I think, and didn't learn the lesson. Time do some work in the shed.
Up to around 4:10, it almost gives it a harmonic minor superimposed over the D Dorian. Love your style.
4:13: Scott say's:"So What....." maybee Miles thaught se same, when he create this masterpiece.....Great lesson! Thanks!
Can't get over how static walking sounds on an electric like this. Especially on so what
Bloody great!! Absolutely bloody great -- totally confusing but bloody great!!
Woah...blast from the past
Ah, I've been told not to walk chromatic stuff over so what before because it 'wasn't about that' or something. But this kind of modernised my head a bit next time I play this tune I'll sound a lot more colourful! Thanks a bunch!
I learned something today, thanks Scott!
And yea, playing the 4th of that chord on a strong beat is not that bad if you follow up by more chord tones later.
Great lesson !
Great lesson Scott! Great job!
You are correct, the ii V7 is not diatonic to Dorian, it just underscores the root motion of ii V7 i. In other words the minor ii V7 is used because of its function, not because it is diatonic to the tonality.
Brilliant! absolutely brilliant!!
Thanks Scott!!
Great lessons, very informative. Thanks a lot.
Wow man, thanks so much for explaining the theory on this stuff; it helps a tremendous amount.
he actually said that you play a D dorian over the Dminor (using the example of So What... it's only 1 minute into the video... just listen). Regardless, the actual answer (I asked my bass teacher) is just that even though most cats play D dorian over the Dm (even if it's the 1 chord), the 2 is just always a half-dimished chord in a minor 2-5-1 jazz progression. It's just the way it is. But in theory, if you are playing a D dorian (which Scott clearly said), then the E would be phrygian.
Thanks...I was wondering the same thing....so 2 Chord is Half Dim, generally, no matter what.
Love your lesson. ..
Right up there with talking bass (mark Smith)
Really great lesson!
that was clearifying! thanks so much!
really! it really opened my mind about some things... when you came up with the E half diminished in the fouth time... it was almoust genius!
i found your channel and videos just today, and i think you are pretty good as a teacher, you can make simple, very unusual thoughts!
keep up, forever!
3:58 Bassface
Thought same hahaaha fun face
I don't play upright... i did a little years ago but just didn't have the time to do both. S
Dude, even you 6 year old vids got me learning new stuff...
Great Video Scott, thanks for posting, especially love the gorilla glove
Brilliant mate cheers Mim.
Thanks!
nice to have those ideas thanks man apreciate it
kinda depends what you are talking about, but the M 7th is used all the time over chords with a minor 7th.
... but for the purposes of playing jazz, standard practice is to play the 1 chord as a dorian mode, but it still serves the purpose of being aeolian, hence the 2 chord being a half diminished (or locrian)
In Jazz you often use the Dorian scale over a m7 chord because of the major 6th. It just sounds better.
Thank god SD in the meantime has found a pair of glasses fitting his nose!
Great lesson Scott. I occasionally had to flick back and rewatch bits when I realised I was getting distracted by your computers screensaver in the background though :)
Everyone always talks about scales and tries to approach jazz music from a scale point of view. No one in the 40s, 50s, and 60s (the era of Jazz music) approached Jazz from a scale. Everyone wants to play like Ray Brown, Wes, Parker, etc, but that is NOT how they approached Jazz. It is all about the HARMONY and understanding CHORD TONES! Even for walking baselines. Carol Kaye said it best, NO ONE played scales and Jazz musicians didn't even want to play with musicians who played scales.
..and she should know.
I think exactly like you. If you play with the chord tone with inversion, you will get awesome walking bass line right off the bat.
@@alexmillette1054 Now thats not to say that one does not play NON chord tones. But they are on the weak beats as passing tones. But any good jazz musician does NOT see the walking around scales but instead sees the chord shapes and uses non chord tones sparingly.
Oh yeah, what about a further lesson on useful techniques in moving to the Eb?
Amazing!!!
Hey Scott, I've been sitting at your feet for about a month now, and I MUST say, I'm a far, far better player for it! I've applied many of your techniques and used your drill exercises for walking bass, etc., ascending and descending minor third scales work, I can't get enough! Every time I look for something new to work on, your vids are here for me, and I really appreciate it! Nice bass face at 4:05 ha!...Anyway, thanks again and that sound at 2 am coming from the woodshed in Seattle? tis I
i miss his videos like this
@wisecollector Hey man, they're just mute notes.
I see, thanks for your reply.
tnx dude
So is it the key of D minor or the key of C? Im a little confused. Great leson and way to blow my understanding way out!!
cheers
Hey Scott, great video! I'm wondering if you could clarify something for me real quick...
If you're playing D dorian, then wouldn't the E be phrygian and not locrian (or half-diminished)? That's the only thing I'm not fully comprehending. Thank you so much!
excellent job . doesnt the choice of chord voicings by other musicians affect your note choice andhow it will sound?
Scott, I love your lessons, I've been checking your videos for months and even though I am a working professional, I love watching even your Beginner videos. However, I must disagree with you when talking about imposing the ii-V on a tune like "So What": the idea about modal music is that there is no "progression", no movement, no tension and resolution, no dominant chords with tonal functionality. By the time Kind of Blue was recorded, Miles always asked his musicians to think of what they would play over a tune, and to don't play it, to play beyond what they think. By imposing ii-V's, you will be asking a soloist to play the same ideas he or she would play over "Softly, as in a Morning Sunrise", "Segment", or similar, the exact opposite of what "So What" demands.
Agreed. The most obvious reference is Paul Chambers' bass playing on the original track. He doesn't impose ii - V phrasing, and if he did the entire impression of the track would have been different.
That was a useful comment as I'm starting to learn it with Dan with his tutorial, and he doesn't talk about the ii-V ... I'm thankful that there isn't one as it makes it easier to play :)
grate videos scott, i learn alot from you. one question, which video camera you use on that video ? :)
One Question: When playing a II-V-I in dorian, shouldn't the II be a normal minor chord? For example: in D-Dorian, when you play the II it's an e minor chord and the fifth of that would be a b. But if you play the IIb5 the fifth would be a b flat which isn't in D-Dorian.
he's doing a minor ii-V-i, which is where the half diminished comes in. Sometimes when doing chord substitutions, you play outside just a little bit, as long as it sounds good, it works
Do you also sharpen the 7th scale degree in order to get the dominant V instead of the v minor 7?
Marius Orehovschi right, you still want that V7 to i resolution, so most play that as a dominant chord, but minor harmony gets really interesting one you start thinking in terms of not only major modes, but harmonic minor and melodic minor, too. I need to brush up on that myself
His face when he plays is amusing one :D He is kinda "uuuph so sexy, isn't it? Oooh, easy girl, easy, oooh!"
Scott, you are playing a 5-string with a high C instead of a low B! I was so confused when trying to imitate your chord shapes and harmonics, I'm so used to seeing that low B with 5 instead of the C. Sneaky...
@SPARTAbassist Lol! S ;)
what is that glove you are wearing?
I was taught that when descending not to use the M7 as a passing tone as it just doesn't sound correct...
now i get it... you're an android and wear a glove to hide your robot fingers...:) jokes asides... you deserve a best bass teacher award!
agreed. learned plenty from both men. (and stole a couple riffs to re-work into mine own)
Is the reason he is calling the B the sixth because he's using a Dorian, vs. Aeolian mode (which would make it Bb)?
Yep. The song So What is famous for being in D Dorian.
This will sound really stupid but: why did you choose dorian and not aeolian over that Dm chord?
At 1:36 at the end of the scale you do a pop or something. That is pretty cool. Lot of people do it. But how?
It's an open string (G) plucked as an offbeat accent. The technique is borrowed from the standup bass.
Thanks buddy! Do you know any video explaining how to do so?
gadzintu I don't know about videos, but if you listen to what he's doing, the note after the 'pop' is on time, on the beat. So the pop is thrown in just before the usual note - you basically unfret the string (you're often already moving from one note to another), and just before you put your finger down to fret the next note, you play the open string. And immediately after you play the next note on the beat.
It's a feel thing really, that *dum dum dum ba-dum* swing rhythm is really common. Listen to what he's doing and try to copy it - you can just walk up four frets if you like, and before the 4th note, drop in that little pop.
You get it in other styles of music too, often with the note muted instead of open - gives a more percussive thumping rhythm to what you're playing
I've finally managed to get something similar. Thanks people!
Gady Called harmonics, there are lessons I'm sure.
Click his website, read the most common question he is always asked on the front page...
please et les tabs ? merci quand même c"est sympa
1:29
Uau...
This could double as a tutorial on bass face.
Why did you use this glove? i have some problems in my nails and I thought in wear gloves
+Caio Cesar Marinho Maia It's like putting quick fret on the strings, it reduces the friction ( lets him move around faster) and helps the strings last longer by keeping dirt and sweat from his hand off the strings. He's using a really thin sleek glove here made of that synthetic stuff, but you can use fluffy gloves too and you get a rounder muted sound from it.
*Edit: Can't actually tell whether he's using the thin gloves or not in this vid actually, but if you've seen his lessons when he's wearing the red glove? That one is thin and tight on the hand so it doesn't mute the strings
+kungfuridinghood er no its because of a nervous system disorder he has... look it up
TheAwesomeGingerGuy What I said is still true!
D dorian has a B natural, not a Bb though...
what's up with the glove mate
+thatwas deepnigga Scott suffers from a condition called Focal Dystonia, which affects the nerve endings in his fingers. The gloves help Scott a great deal with this condition.
I’m lowkey got lost 😔 I’m trying tho
What are the gloves for?
WHO THUMBED DOWN?????
Why is he wearing a glove?
nerve problem, can't move his fingers without the glove.
Swag
RockyR4ccoon HD His father cut off his hand in a light sabre duel. Sad story indeed.
@@v1ntone..should have jus accepted the Dark Side.
EUREKA
try to put the bass a little louder. I can't hear it.
those glasses make you look like you belong in a Pixar animation. The Incredibles 2 or something.
Pengikut lo akan segitu aja ga bakalan tembus se jt, soalnya ngjarnya pake sarungtangan
also try to speak louder and get to the point!
Fantastic, and I'm not even a bass player; I learned loads, many thanks