The *WORST* Song in Jazz: "Footprints" (Part 1)
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- Опубліковано 7 лип 2024
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00:00 Intro
01:33 Welcome and overview
03:45 Bars 1-4
11:29 Bars 5-8
16:40 Bars 9-12
24:25 Examples from Reggie Workman & Ron Carter
43:00 Closing thoughts
Absolutely brilliant and stunning lesson, Matt! I did learn a lot! Thank you so much for just giving away all those things. Your channel is one of the best educational channels you can find on UA-cam! Just WOW!
How kind of you to say! Thank you!
Mike Edmonds Quintet my band on UA-cam and Spotify. Thank you again for this lesson it’s great . I remember playing this tune with a great piano player and I asked what shall I play on the bridge or we play ? He said ohhhh effffing anything! So we went crazy on it
Thanks for watching and going crazy!
The turnaround discussion is truly excellent! The “Real Book” has caused a lot of confusion!
So glad that you got something from it. I wish it were the only answer to that section haha!
This was requested to me by a good fellow drummer and I really struggled on understanding what was happening in this song. In a demonstration by a double bassist I saw he was doing the big shift to Eb and I was amazed by his ability to get it right every time. Then I saw the non shifting position by @mrsunnybass and I still love that.
I really love how you get so deep with this song and I believe it is not just for this song, you are actually teaching me a method of studying. For this I am really grateful 🙏🏻.
Waiting for part 2. ❤
Thank you as always, and I’m so happy you were able to get something from this!
@@LearnJazzBasswithMattRybicki absolutely! And already going through your 100 lessons book. Forever learning!
Great video! And you don't need a click-baity title, Matt 😉
Thank you so much that means a lot!
Excellent lesson. I'm trying yo learn bass and this is a great and clear lesson. Thank you Matt.
Nice! Thanks for watching and for your kind words!
Practicing double bass through recording in my studio, definitely working with the same process - feeling good about that, thanks! That ‘no shift’ position is what I would always have been my electric bass go to position, the low notes on my double bass up there on what have been eight fret don’t sound very good, a shift probably worth it to me - in the studio… definitely like the Bb , OK on the I pattern too I think…. S truly warped cat might like the B on top instead of C ;-)
Haha that B would be crazy - love it. Thanks for watching!
Good content thanks! What’s DVD near Ray brown book?
Thank you! That’s a book on the music stand “The Omni Americans” by Albert Murray
Yes it’s great! You played in very nicely too!!
Thanks a lot!
Bravo. Pure gold. Tnx
@@imparatore9377 thank you!
dominant flat 5 ... is there a scale, used by jazzmusicians, that is dominant with a flat 5? All the scales I can think of have a #11 ... Alt has a #4, #5, lydian dom has a #4, 5, Dim half-whole also #4 5 (1-b9-#9-3-#4-5), so what do you mean with dominant flat 5? (always confuses me ...) Especially when playing with older musicians, I see dominant flat 5 chords in their scores, it would mean that I can not play a natural fifth in my walking line, but most of the time the ear says that that is not the case, that I can play the natural fifth, so it should say sharp 11 ... no?
Hi there - this is a good question! First and most importantly, specifying a chord as formally having a b5 is intended to directly communicate that there is *not* a natural 5th but the flat 5 in the sound. Like you said, however, there’s millions of times where we as bassists can “get away with” playing the natural 5. But I think it helps to know the intention. It’s definitely not supposed to be a #11 and also definitely not supposed to have a natural 5. (Again, “supposed to” is relative, ultimately). As far as a scale with a “real” b5, the altered scale’s 4th degree can be *either* #4 or b5. Same with a whole tone scale. You could also think diminished whole/half. That fifth note could be considered a flat 5. To me, writing “7b5” _instead_ of “7alt” is a way for whoever is notating the music to communicate not only that there’s no natural 5, but most likely they don’t want to hear the b9 or #9 either from the altered scale. But that’s subjective too. And also for me, I used to shy away from that sound but now I really dig it! And I try to play the b5 myself cause I like the sound
@@LearnJazzBasswithMattRybicki thank you!!!
@@KrisDuerinckx with pleasure
Great lesson mate . Thank you
My pleasure!
thanks - I appreciate your posts
Glad you like them!
Excellent explanation of harmonic genius jazz interpretation- improv in the moment!!!!
Thanks!
Thanks
Thank you so much!
Thank you!
Thank you!
Outstanding
Thank you!
Do Terrence Blanchard version too!?!?
I'm a sax player and can only imagine the difficulty with finding the intune spots on a given string and how long it must take to be able to make the wider intervals. The hack about finding workarounds to simplify those dangerous interviews is brilliant. Sax players do something close by deciding to use the palm keys in certain circumstances.
Question, is there any measurable tolerance when landing on the note and hearing an acceptable pitch?
Thanks for watching and for your comment! I’m sorry I don’t quite understand your question…could you explain more?
The Ron Carter mystery notes could both be passing sus chords ?
Yeah it might be possible - or it was just a passing thing. Maybe if I had a full transcription of what Herbie was playing in those exact moments we could “rebuild” the intention…but who know?
Practicing double bass through recording in my studio, definitely working with the same process - feeling good about that, thanks! That ‘no shift’ position is what I would always have been my electric bass go to position, the low notes on my double bass up there on what have been eight fret don’t sound very good, a shift probably worth it to me - in the studio… definitely like the Bb , OK on the I pattern too I think…. S truly warped cat might like the B on top instead of C ;-)