I started upright Bass late in life . About 30 years ago. I have looked at and studied quite a few books that spoke to me , All I mean is for some reason I understood what The Authour was Teaching.. The are very well known Teachers . I just happened to stop and look at one of Chris's Video's on Melody and Improv . Chris, as far as I am concerned is The Best and Easiest teaching I have Ever witnessed . What a Gift for me , What a Gifted Teacher !
Hey, (excuse my poor english) I want to thank you a lot. I live in Switzerland in a corner where there are not so much teachers that inspires me... I'm playing the piano for 25 years now and try to learn bass for 6 month... and you're really helping me ! You're video are both theoritically and practically very helpfull and i like your way of presenting bass things. They are practical to train and have some results and exigent... and that mix is hard to find. And everything is very well designed and comfortable to watch. So... I just say a big thanks
+Pierre Villars Thanks, Pierre! It's amazing to me that by putting these videos up I can be doing some good halfway around the world. That makes me very happy. Thanks for the feedback.
I have been watching and practising these tutorials for few weeks now and I have to say they are incredibly well designed and extremely useful. Finally jazz bassists have an online resource that treats the matter comprehensively and in a methodical and serious way. The same as you'd expect in classical studies. Thank you Chris!
+marco santaroni Thanks, Marco. Good that the series is being put to good use - what you describe is exactly what i was going for. Please let me know if you have any feedback or topic requests.
I was wondering, what if you have a set of changes to solo over and there is no melody to reference to? And what if there is no one comping for you? That's my main concern when using the "one scale play by ear method". I practiced the "one scale emphasise the chord tone" method. It worked out well until i have 2 chords per bar and felt overwhelmed. I guess i'm torn between the different methods used for soloing. Anyway a big thank for all your informative videos.
Hi Thomas - usually the only situation I find like that is when I have not yet learned the melody for the tune/changes in question. In any case, the same sets of possible guide tone lines will occur between chords with no melody and chords with a melody. The only difference is that with a melody, the composer has already marked out a great guide tone path for soloists to follow.
Doctor! as your attorney i advise you to check out the Documentary 'Beware Mr Baker' it will put a huge smile on your face! it's about another 'Wicked Ginge' lol cheers!!
Thank you for these fantastic tutorials....Im learning the Bb major and A Major and C Major scales all played in Thumb Position , the thumb position box pattern tutorial you laid out is fantastic ...dumb question time , can you ever start over using your thumb ? because if I can I will rather use thumb to play the note\make the stop as apposed to playing the note normally with your fingers , if possible i will resort to using thumb and 1 or thumb 1and 2 ect.
Thanks for weighing in! I don't know about overusing the thumb, but I would advocate learning to use all the fingers at your disposal within a position. In my first thumb position video, there is a section about free versus fixed position. I am a big advocate of free position, so this might be something to experiment with. That excerpt can be found here: ua-cam.com/video/h2N09mdBBUM/v-deo.html
The Pdf is on my website on the Educational Videos page under the playlist window. Here's the link: www.chrisfitzgeraldmusic.com/wp-content/uploads/2015/11/Introduction-to-Melody-and-Soloing-in-Thumb-Position-2.pdf Cheers!
Hi Chris, compliments for your excellent video. Just wondering why you didn't use the G major scale (My Romance in G) for the type 2 scale position. It would have avoided the raising of the thumb for the g# - making it somewhat a mixed situation. All the best from South Africa.
Hi Hein, I am honored that you would be watching this - have been aware of your playing and pedagogy for some time. :) I chose A Major for type 2 because I when i originally started teaching this material it was in a yearly masterclass for beginners in thumb position, and they seemed to find it easier to begin each scale from the third string both conceptually and physically. Once they get the basic concept under their fingers, I mention to them that all of the positions can also be started from the 4th string (adding extra available range on top of the 8ve without shifting), or from the 2nd string (leaving less than an ascending 8ve under the fingers, but adding extra range below the root). If I'm understanding your question correctly, the scale you are suggesting is what I ended up calling the type 3, but starting from the 4th string G instead of the 3rd string C. Hope you are well and thanks for weighing in!
No - great stuff man. Amazing how after 40 years I am still fascinated with the relationship between the human body and this lovely wooden object. Just found a very exciting new (well not new, but comprehensive) way to delve into 2 octave scales all over the instrument. Will send you with pleasure (my mail: info@baselinemusic.nl). What I meant was G major starting indeed on the E-string - and over 4 strings. A pure type 2 position. But I see your point of starting on the A-string. And yes - a duo would be a joy. :-)
Hein Van de Geyn I have not been at this quite as long, but am similarly fascinated to fond new ways to tame this beautiful beast. I will probably not create a comprehensive book as you have done, but these educational videos represent a different version of the same obsession. :) Will send you an email - i would love to see the 2 8ve scale method. :) BTW, now that I think about it, my friend and mentor John Goldsby asked me a similar question about that position while co-teaching that same class with me. I think I was just try to spare the beginners in the class the pain of trying to make the 4th string speak in TP right away.
Hi Chris, thank you for thoses videos. My name is Pierre, not from Switzerland but from Paris and play bass for a lot of years both classical and jazz. I'm always trying to improve and i was curious about yor right hand. Do you have any conception for this topic? (I don't know if my english is correct or not). Thanks a lot. Pierre
Hi Pierre, The first two videos in the series, "Right Hand Technique Basics" and "Permutations" are about right hand technique, and they cover many of the basics. As regards thumb position specifically, I use the same basic techniques but emphasize keeping enough distance between the right hand and where the stops are being played in the left hand; if the right hand is plucking too close to the stop, the string will be too close to the fingerboard and the plucking fingers can't get deep enough under the string to get it to speak in a full voice. It's very similar to the tradition of arco players bowing closer to the bridge when playing in the upper register.
I started upright Bass late in life . About 30 years ago. I have looked at and studied quite a few books that spoke to me , All I mean is for some reason I understood what The Authour was Teaching.. The are very well known Teachers . I just happened to stop and look at one of Chris's Video's on Melody and Improv . Chris, as far as I am concerned is The Best and Easiest teaching I have Ever witnessed . What a Gift for me , What a Gifted Teacher !
Thanks Peter! Glad the lesson worked for you. :)
Really like the song you use for the cold open it's beautiful
Thank you so much Chris for these explanations. I live in France.
Thanks for tuning in, and good to know the videos are reaching people!
Hey, (excuse my poor english) I want to thank you a lot. I live in Switzerland in a corner where there are not so much teachers that inspires me... I'm playing the piano for 25 years now and try to learn bass for 6 month... and you're really helping me ! You're video are both theoritically and practically very helpfull and i like your way of presenting bass things. They are practical to train and have some results and exigent... and that mix is hard to find.
And everything is very well designed and comfortable to watch.
So...
I just say a big thanks
+Pierre Villars Thanks, Pierre! It's amazing to me that by putting these videos up I can be doing some good halfway around the world. That makes me very happy. Thanks for the feedback.
I have been watching and practising these tutorials for few weeks now and I have to say they are incredibly well designed and extremely useful. Finally jazz bassists have an online resource that treats the matter comprehensively and in a methodical and serious way. The same as you'd expect in classical studies.
Thank you Chris!
+marco santaroni Thanks, Marco. Good that the series is being put to good use - what you describe is exactly what i was going for. Please let me know if you have any feedback or topic requests.
+Chris Fitzgerald I will indeed. I have to watch all the video first!
Excellent !! Thanks, Chris.
+Harold South Thank you!
This is amazing , gret lesson
Thanks for watching!
All of your videos are pure gold. I loved the whole series! Thank you so much!
Thanks for checking them out!
Very much appreciated!
Hi Chris, thanks for the Video, great! Best regards from Hamburg, Axel
You're welcome, and thanks for the feedback. I love hearing comments from across the ocean.
Really helpful, thanks!
Great, amazing lesson. Thank you Chris! :)
Thank you!
Muito bom mestre! Forte abraço do Brasil, obrigado.
+David Nery Thank you!
I was wondering, what if you have a set of changes to solo over and there is no melody to reference to? And what if there is no one comping for you? That's my main concern when using the "one scale play by ear method". I practiced the "one scale emphasise the chord tone" method. It worked out well until i have 2 chords per bar and felt overwhelmed. I guess i'm torn between the different methods used for soloing. Anyway a big thank for all your informative videos.
Hi Thomas - usually the only situation I find like that is when I have not yet learned the melody for the tune/changes in question. In any case, the same sets of possible guide tone lines will occur between chords with no melody and chords with a melody. The only difference is that with a melody, the composer has already marked out a great guide tone path for soloists to follow.
nice melody on the tag/ outro!
that could be it's own song!
does the Uni know all the good work your putting out there? tenure at least!! hear here!
Great lesson Chris...What strings do you use? I want Thomastik Dominant for my bass...The Orchestra tunning it's G-D-A-E?
Thanks
Hi Alin. Thanks! Those are Thomastik Dominants on the G-D-# and a Spirocore Stark on the E.
Doctor! as your attorney i advise you to check out the Documentary 'Beware Mr Baker' it will put a huge smile on your face! it's about another 'Wicked Ginge' lol cheers!!
Thank you for these fantastic tutorials....Im learning the Bb major and A Major and C Major scales all played in Thumb Position , the thumb position box pattern tutorial you laid out is fantastic ...dumb question time , can you ever start over using your thumb ? because if I can I will rather use thumb to play the note\make the stop as apposed to playing the note normally with your fingers , if possible i will resort to using thumb and 1 or thumb 1and 2 ect.
Thanks for weighing in! I don't know about overusing the thumb, but I would advocate learning to use all the fingers at your disposal within a position. In my first thumb position video, there is a section about free versus fixed position. I am a big advocate of free position, so this might be something to experiment with. That excerpt can be found here: ua-cam.com/video/h2N09mdBBUM/v-deo.html
Fantastic tutorial , thank you so much. I am battling to find the pdf , please advise....
The Pdf is on my website on the Educational Videos page under the playlist window. Here's the link: www.chrisfitzgeraldmusic.com/wp-content/uploads/2015/11/Introduction-to-Melody-and-Soloing-in-Thumb-Position-2.pdf Cheers!
Hi Chris, compliments for your excellent video. Just wondering why you didn't use the G major scale (My Romance in G) for the type 2 scale position. It would have avoided the raising of the thumb for the g# - making it somewhat a mixed situation. All the best from South Africa.
Hi Hein, I am honored that you would be watching this - have been aware of your playing and pedagogy for some time. :) I chose A Major for type 2 because I when i originally started teaching this material it was in a yearly masterclass for beginners in thumb position, and they seemed to find it easier to begin each scale from the third string both conceptually and physically. Once they get the basic concept under their fingers, I mention to them that all of the positions can also be started from the 4th string (adding extra available range on top of the 8ve without shifting), or from the 2nd string (leaving less than an ascending 8ve under the fingers, but adding extra range below the root).
If I'm understanding your question correctly, the scale you are suggesting is what I ended up calling the type 3, but starting from the 4th string G instead of the 3rd string C. Hope you are well and thanks for weighing in!
Also, here's hoping we can meet someday and play a duet. Cheers.
No - great stuff man. Amazing how after 40 years I am still fascinated with the relationship between the human body and this lovely wooden object. Just found a very exciting new (well not new, but comprehensive) way to delve into 2 octave scales all over the instrument. Will send you with pleasure (my mail: info@baselinemusic.nl).
What I meant was G major starting indeed on the E-string - and over 4 strings. A pure type 2 position. But I see your point of starting on the A-string.
And yes - a duo would be a joy. :-)
Hein Van de Geyn I have not been at this quite as long, but am similarly fascinated to fond new ways to tame this beautiful beast. I will probably not create a comprehensive book as you have done, but these educational videos represent a different version of the same obsession. :) Will send you an email - i would love to see the 2 8ve scale method. :)
BTW, now that I think about it, my friend and mentor John Goldsby asked me a similar question about that position while co-teaching that same class with me. I think I was just try to spare the beginners in the class the pain of trying to make the 4th string speak in TP right away.
Hi Chris, thank you for thoses videos. My name is Pierre, not from Switzerland but from Paris and play bass for a lot of years both classical and jazz. I'm always trying to improve and i was curious about yor right hand. Do you have any conception for this topic? (I don't know if my english is correct or not). Thanks a lot. Pierre
Hi Pierre,
The first two videos in the series, "Right Hand Technique Basics" and "Permutations" are about right hand technique, and they cover many of the basics. As regards thumb position specifically, I use the same basic techniques but emphasize keeping enough distance between the right hand and where the stops are being played in the left hand; if the right hand is plucking too close to the stop, the string will be too close to the fingerboard and the plucking fingers can't get deep enough under the string to get it to speak in a full voice.
It's very similar to the tradition of arco players bowing closer to the bridge when playing in the upper register.