Joe Hubbard Bass: when adults walk into the room. No gimmicks, no infantile cartoons/gifs/memes, no nonsense. Proper bass tuition for proper bass players... and props to JH!
Great lesson, thank you for sharing. I also like to simplify this concept by using three basic arpeggios (Gm7, Bbmaj7 and Em7b5) and the C7 bebop scales as the "glue" that connects them. It works great over the II-V progression. You can practice this by creating an ongoing cycle by playing only eighth notes. Ascending the arpeggios starting on Gm7 and descending using the C7 bebop scale, that takes you right to the Bbmaj7 arpeggio. Then decend again with C7 bebop scale and make an enclosure to hit the Em7b5 arpeggio. Same thing to continue with the next Gm7 arpeggio one octave higher. In a II-V-I progression you can use part of the cycle (eighth notes) to improvise over the II-V and then come up with a resolution to the I chord. You can also combine the bebop scale and the three arpeggios in infinte ways, and break down parts of the cycle to create your own lines. Hope it helps.
Not G-7! As I outline in this video, the G-(maj7) is the arpeggio played from the 5th. Why? Because the F# is a resolvable tension over the C7 which is #11. F is isn't a hip note to resolve to because it implies a C7(sus4). All this is clearly outlined in this lesson.
It would be beautiful if you make individual courses on such topics like this and sell individualy on your site. I love the way you explain! Thank you!
It's definitely a "brainburner". Would you mind explaining the theory behind using the #11 as one of the natural extensions for the arpeggios, instead of the natural 11th of the mixolydian scale?
Hey Joe, great lesson thank-you. So we've a ton of stuff to practise on a dominant 7th chord. Can you share extensions and base scale (for bebop) for the (II) minor and (I) majors?
Bit confused Joe- the line of the 5th has the sharp 11 in it-- the 7th line also has the sharp 5 - wouldn't that sugest these are all off the C lydian Dominant as opposed to the C mixolydian as the parent scale?
Your "scale karma" is getting the better of you. Remember- you can't resolve to an 11 over Dom7 unless you want to outline a sus sound. The exercise- as it says - is using the Bebop scale as a "follow up" sequence to the ascending arpeggios that out line the R-3-5-b7-9-#11-13 of the Dom7 chord. This has nothing to do with any scale, but rather the chord in question as these are the notes you can resolve to over a Dom7th chord. The Bebop scale which represents a mixolydian mode with a chromatic approach from above the b7, is used as a descending line which always resolves to the R-3-5 or b7. This is what is known as the "Mixafewofthem" mode :-)
great info as usual...the "sin TAX" is playing these arpeggios and scales without harmonic context...thank you for the connecting ideas...this is actually Lydian dominant ascending bebop descending....no?
You could look at it like that- but you can also look at chords as their own entity where by you understand that the available chord tones are R, 3, 5, b7 and available tensions as b9, 9, #9, #11, b13 & 13. The natural tensions being 9, #11 & 13.
Nice one Joe...small query, why are you adding F# on 3rd mode(Gm) and 4th mode(Bflat) as you consider B on 1st mode as a bebop note? Or can we use both B and F# as bebop? Thanks!
The F# functions as a #11 on a C7 chord. At 3:20, I explain all the natural extension of a dominant 7th chord as 9, #11 & 13, so when we create the ascending chords they come from the chord (R, 3, 5 & b7) and the tensions (9, #11 & 13). This creates some very cool ideas ascending up these chords and playing the Bebop scale back down in a descending fashion.
They create a collection of chord tones and chord tensions that are available on a Dom 7th chord. E-7(b5) = 3,5,b7,9 Gmin(maj7)= 5, b7, 9,#11 Bbma7(#5)= b7,9,#11,13
@@JoeHubbardBass man to hear it straight from you just nails it in there, thank you! So its about interpreting chords from the higher tensions. It would be great to try this over other chord qualities.
!) It's pushing me around ALL over the board having to reconfigure fingerings, but better knowing the board all over! 2) At 10:05, U speak of down a 4th(D to A) and down an M2(A to G), do you do this on ALL the chord tones???From C, that would b a Bnatural,(after the 3rd, E) unless U stick with the scale which would then b a Bflat to an Anatural, Yes???
I've added that at the end of the line over the Bbmaj7#5 extension of the C7 chord. Remember the chord we're playing over here is C7. Take note of the line Bb, D, A, G which would equate to b7, 9, 13, 5 over the C7. If I'm interpreting your question correctly if you were to add that 4-note cell at the end of the first line starting from C, you would have to alter the intervals to fit over C7. For instance, the 4-note cell would be C, E, Bb, A. Does that make sense?
Hey Guys! Just uploaded this new video which is chockfull of great musical content. Dig into it now! All the Bass- Joe
Great lesson,maybe the best one so far.
Thanks Garry!
Joe Hubbard Bass: when adults walk into the room. No gimmicks, no infantile cartoons/gifs/memes, no nonsense. Proper bass tuition for proper bass players... and props to JH!
Great lesson, thank you for sharing. I also like to simplify this concept by using three basic arpeggios (Gm7, Bbmaj7 and Em7b5) and the C7 bebop scales as the "glue" that connects them. It works great over the II-V progression. You can practice this by creating an ongoing cycle by playing only eighth notes. Ascending the arpeggios starting on Gm7 and descending using the C7 bebop scale, that takes you right to the Bbmaj7 arpeggio. Then decend again with C7 bebop scale and make an enclosure to hit the Em7b5 arpeggio. Same thing to continue with the next Gm7 arpeggio one octave higher. In a II-V-I progression you can use part of the cycle (eighth notes) to improvise over the II-V and then come up with a resolution to the I chord. You can also combine the bebop scale and the three arpeggios in infinte ways, and break down parts of the cycle to create your own lines. Hope it helps.
Not G-7! As I outline in this video, the G-(maj7) is the arpeggio played from the 5th. Why? Because the F# is a resolvable tension over the C7 which is #11. F is isn't a hip note to resolve to because it implies a C7(sus4). All this is clearly outlined in this lesson.
Exactly what I'm working on now...clear explanations, thanks Joe!
Finally something useful,
No one else makes me think like you do Joe. And no one else I know wants to think about this kinda stuff Joe 😄
Thanks Andrew!
@@JoeHubbardBass- This has opened up the dominant sound for me like never before - Massive Thanks!!!
Great lesson Joe... and awesome looking 4 string!
It would be beautiful if you make individual courses on such topics like this and sell individualy on your site. I love the way you explain! Thank you!
Funny that you mention that as that's planned for 2019.
I love the smell of a new Joe Hubbard bass lesson in the morning. :D Once again great stuff, thanks Joe!
Smells like Napalm!
It's definitely a "brainburner". Would you mind explaining the theory behind using the #11 as one of the natural extensions for the arpeggios, instead of the natural 11th of the mixolydian scale?
Cool idea to give some practical exercise! Jazz is a struggle. Thank you!
On the book Walking Bass Lines there is no finger technique for beginners, moving from acoustic to electric bass also requires tough. Great lesson.
Hey Joe, great lesson thank-you. So we've a ton of stuff to practise on a dominant 7th chord. Can you share extensions and base scale (for bebop) for the (II) minor and (I) majors?
I love the way you break it down smoking information
Glad to here you're enjoying the lessons Sam!
Love your lessons, thank you
Much appreciated!
Joe is Fantastic !
Cheers Da!
Your lessons are really helpful
Glad to hear it!
Thank you sir!
You're welcome.
If you are building a chord over the C7 notes I don’t understand where the F# come from to build the G minor (major 7) chord.
It's tension #11 over the C7 and 7 over the Gmin(maj7)- looks like you need my 2-Year Bass Mastery Course!
As always, great stuff Joe !
Cheers!
Amazing 🙏❤️
Bit confused Joe- the line of the 5th has the sharp 11 in it-- the 7th line also has the sharp 5 - wouldn't that sugest these are all off the C lydian Dominant as opposed to the C mixolydian as the parent scale?
Your "scale karma" is getting the better of you. Remember- you can't resolve to an 11 over Dom7 unless you want to outline a sus sound. The exercise- as it says - is using the Bebop scale as a "follow up" sequence to the ascending arpeggios that out line the R-3-5-b7-9-#11-13 of the Dom7 chord. This has nothing to do with any scale, but rather the chord in question as these are the notes you can resolve to over a Dom7th chord. The Bebop scale which represents a mixolydian mode with a chromatic approach from above the b7, is used as a descending line which always resolves to the R-3-5 or b7. This is what is known as the "Mixafewofthem" mode :-)
great info as usual...the "sin TAX" is playing these arpeggios and scales without harmonic context...thank you for the connecting ideas...this is actually Lydian dominant ascending bebop descending....no?
You could look at it like that- but you can also look at chords as their own entity where by you understand that the available chord tones are R, 3, 5, b7 and available tensions as b9, 9, #9, #11, b13 & 13. The natural tensions being 9, #11 & 13.
@@JoeHubbardBass thanks for the response
Nice one Joe...small query, why are you adding F# on 3rd mode(Gm) and 4th mode(Bflat) as you consider B on 1st mode as a bebop note? Or can we use both B and F# as bebop? Thanks!
The F# functions as a #11 on a C7 chord. At 3:20, I explain all the natural extension of a dominant 7th chord as 9, #11 & 13, so when we create the ascending chords they come from the chord (R, 3, 5 & b7) and the tensions (9, #11 & 13). This creates some very cool ideas ascending up these chords and playing the Bebop scale back down in a descending fashion.
@@JoeHubbardBass thanks for the response! It actually helps to create cool lines...
Great stuff! Greetings from Poland! :)
Were you at my master class in Krakow?
Joe Hubbard Bass of course. We were talking a little after that near exit door until Waldek suggested to go out elsewhere. :)
Oh great! Nice to see you here!
Great again Joe
Thanks!
Great stuff!
Glad it helped!
I can understand the Eminb5, but where do the G min maj & the Bb aug maj come from?
They create a collection of chord tones and chord tensions that are available on a Dom 7th chord. E-7(b5) = 3,5,b7,9 Gmin(maj7)= 5, b7, 9,#11 Bbma7(#5)= b7,9,#11,13
@@JoeHubbardBass man to hear it straight from you just nails it in there, thank you!
So its about interpreting chords from the higher tensions. It would be great to try this over other chord qualities.
!) It's pushing me around ALL over the board having to reconfigure fingerings, but better knowing the board all over! 2) At 10:05, U speak of down a 4th(D to A) and down an M2(A to G), do you do this on ALL the chord tones???From C, that would b a Bnatural,(after the 3rd, E) unless U stick with the scale which would then b a Bflat to an Anatural, Yes???
I've added that at the end of the line over the Bbmaj7#5 extension of the C7 chord. Remember the chord we're playing over here is C7. Take note of the line Bb, D, A, G which would equate to b7, 9, 13, 5 over the C7. If I'm interpreting your question correctly if you were to add that 4-note cell at the end of the first line starting from C, you would have to alter the intervals to fit over C7. For instance, the 4-note cell would be C, E, Bb, A. Does that make sense?
@@JoeHubbardBass 100%...that's where I thought this would go but verification always clears the comprehension!!! Much Obliged and Thank You!!!
@@Threlgar Great!
awesome content!!
I LIKE YOUR LESSONS ARE COOL MEN I HOPE TO FOLLOW YOU UP
I don't get that A Bflat B C line that is repeating each time we go down the scale
That's because when I'm using the Bebop scale I'm descending. So, it goes C, Bb, B, A in every line. That's clearly outlined in all four examples.
♥
Amazing lesson. Really opened my eye. Thanks a lot. And you deserve that perfect like/dislike ratio
Thanks Bro!
The #11 is a useful sound on dominant chords, but it is not a natural extension. That is just plain wrong.
Yes it is!