Good advice and great descriptions/demonstrations. There’s also these 3 tips: On measures 1&2 the 4 chords and can be played Bma7, D7/A, Gma7, Bb/F so just walk down in whole steps to the Eb chord on bar 3. Either half notes or two quarters each play B A G F Eb. Same for bars 5 & 6 (G F Eb C# B). You can also do chromatics (B Bb A Ab G Gb F E Eb). Then use a tritone sub on the weak beats (B E A D G C F Bb) and you got ascending fourths (descending fifths). Throw in chromatic ascending approach notes and you can do something like this: B C# D F# G E F D Eb. The rest settles into 3 keys (B, Eb and G) all major 3rds apart, doing lots of 2 5 1s. Usually after resolving on the 1 chord you’ll start a new key a tritone away. In other words, bars 3 and 4 are Ebma7 to Am7, bars 7 and 8 are Bma7 to Fm7, bars 11&12 go from G to C#. If you play 1, 2, 3, 5 on the one chord you’ll approach the two chord chromatically from above which sounds cool maybe. Only 15&16 have Ebma7 to C#m7/F#7 (which starts the whole step decent thing again so you can play two quarters each of Eb D Db C before landing on B at the top. Lastly, instead of jumping around playing root fifth root fifth etc. try to create something singable. Who can sing random intervals that contain 5ths 6ths and 7ths? I think the root third root third is even more awkward and although important to realize and fully understand is far from melodic. A possible set of the first 17 quarter notes are B C# D E D C Bb C Bb C D Eb E F# A Ab G. Some roots but lots of subs and scale tones. Starts with a B minor tetrachord then a Bb major tetrachord followed by a E major tetrachord. Singable. Melodic. This is a more Ron Carter approach, I think, than a Ray Brown one, but might be fun to explore. Who knows, am I crazy? Are these suggestions hella whack?
Very interesting comments. I like some of the ideas here, the first one being what PC does on the original recording. My only concern is that these are a few solutions that would work on a couple choruses, but I'm looking for a method that would help the bassist improvise through many choruses. I believe that this one works pretty well, I don't see anything bad with playing a lot of chord tones (1-5, 1-3) as they outline the harmony (like a second species counterpoint does) and make the harmony sound better with the rest of the band, the bass being the foundation. Plus, when you add 7th and their resolutions, the possibilities start to be infinite and that's when the bassist uses his/her ears to play melodically. Most important thing is to have these under your fingers first, then understand the harmony/resolutions and finally create melodic lines using your judgement. Play simple before substitute chord changes. Having studied myself with Ron Carter for a few years, I'd say this approach is pretty close to his concept. Thanks for the contribution!
@@clovismusic007 Thank you Clovis, I'm Brazilian, our currency lost a lot of value due to a genocidal government in the face of the pandemic... If and when it get better, I'll talk whith you!
@@gustamyo Hope the situation is better now in Brazil... Just wanted to let you know that I've been updating new videos weekly on my Patreon page: www.patreon.com/bassworkshop
The jazz double bass in a nutshell!. 1-3, 1-5!. Amazing lesson, straight from the fountain! Where could I find more lessons like that? Thank you very much
Thanks for the feedback! I believe the 1-7 is important too because it helps the natural resolution of the 7th, the "tension" note. I am working on a video + PDF series that will be available soon (a month) on my website. I suggest to join the mailing list to keep in touch.
With the the 3rd and 5ths you can pretty much do all chords for this tune , with the 7ths that is not the case, you have to mix it up a bit and resolve to nearest chord tone as for if you strictly play 7s (up or down) it can sound pretty bad.. Great lesson Clovis
Really helpful lesson and analysis. Thanks! On another subject: I'm curious what strings you are using in this video? Would you mind sharing that? The G looks like a gut? What are the others? IT SOUNDS GREAT!
To be honest, I don’t know the other strings besides the G gut. I had just bought that bass at the time of the video and there was some random steel strings on it that I haven’t identified. Glad to hear that you enjoyed the video!
Nice tutorial. Problem for me as I am not a jazz musician, but I always want to learn jazz LOL, I used to play pattern so when I play this song, it's difficult for me to not do repetition of patterns, and I feel it boring.. (of course I cannot read notes and doesn't do transcribing, only from ears and feels.. and before you kill me haha.. I play Fender Bass instead of Acoustic Bass, which I always want to be able to play, but never have the chance).
@@clovismusic007Your notes are not "wrong" (except a few typos), but your note choices make it more difficult to hear the chord progression. There is little gravity or flow to your lines. They often sound random even though I am sure they are not. Perhaps if you found a way to connect chord changes by using more non-chord tones combined with thoughtful use if inversions. If you like, you can download and play an example of the lines I play on Giant Steps here: drive.google.com/file/d/1zeFxhSYzST72-eeNSZOdiF1kXs0MCNsP/view?usp=sharing
![John Coltrane - Giant Steps (2020 Remaster) [Official Audio]](http://i.ytimg.com/vi/KwIC6B_dvW4/mqdefault.jpg)
Great lesson ! 😊
Good advice and great descriptions/demonstrations. There’s also these 3 tips:
On measures 1&2 the 4 chords and can be played Bma7, D7/A, Gma7, Bb/F so just walk down in whole steps to the Eb chord on bar 3. Either half notes or two quarters each play B A G F Eb. Same for bars 5 & 6 (G F Eb C# B). You can also do chromatics (B Bb A Ab G Gb F E Eb). Then use a tritone sub on the weak beats (B E A D G C F Bb) and you got ascending fourths (descending fifths). Throw in chromatic ascending approach notes and you can do something like this: B C# D F# G E F D Eb.
The rest settles into 3 keys (B, Eb and G) all major 3rds apart, doing lots of 2 5 1s. Usually after resolving on the 1 chord you’ll start a new key a tritone away. In other words, bars 3 and 4 are Ebma7 to Am7, bars 7 and 8 are Bma7 to Fm7, bars 11&12 go from G to C#. If you play 1, 2, 3, 5 on the one chord you’ll approach the two chord chromatically from above which sounds cool maybe. Only 15&16 have Ebma7 to C#m7/F#7 (which starts the whole step decent thing again so you can play two quarters each of Eb D Db C before landing on B at the top.
Lastly, instead of jumping around playing root fifth root fifth etc. try to create something singable. Who can sing random intervals that contain 5ths 6ths and 7ths? I think the root third root third is even more awkward and although important to realize and fully understand is far from melodic. A possible set of the first 17 quarter notes are B C# D E D C Bb C Bb C D Eb E F# A Ab G. Some roots but lots of subs and scale tones. Starts with a B minor tetrachord then a Bb major tetrachord followed by a E major tetrachord. Singable. Melodic.
This is a more Ron Carter approach, I think, than a Ray Brown one, but might be fun to explore. Who knows, am I crazy? Are these suggestions hella whack?
Very interesting comments. I like some of the ideas here, the first one being what PC does on the original recording. My only concern is that these are a few solutions that would work on a couple choruses, but I'm looking for a method that would help the bassist improvise through many choruses. I believe that this one works pretty well, I don't see anything bad with playing a lot of chord tones (1-5, 1-3) as they outline the harmony (like a second species counterpoint does) and make the harmony sound better with the rest of the band, the bass being the foundation. Plus, when you add 7th and their resolutions, the possibilities start to be infinite and that's when the bassist uses his/her ears to play melodically.
Most important thing is to have these under your fingers first, then understand the harmony/resolutions and finally create melodic lines using your judgement. Play simple before substitute chord changes. Having studied myself with Ron Carter for a few years, I'd say this approach is pretty close to his concept.
Thanks for the contribution!
Thank you for this great video! 🙏🎻
just had to subscribe... I hope more lessons like this will keep rolling out.. this just solved my Giant steps problem..
They will! Will keep you posted :-)
Just started a Patreon page (www.patreon.com/bassworkshop)Thanks!
Excellent tutorial, Clovis! Keep these great videos coming.
Thanks! I have started a Patreon page where I put new videos on a regular basis: www.patreon.com/bassworkshop
Great lesson
I just started a Patreon page about this (link below video). Thanks for checking it out!
Nice work brother Clovis!!
Thanks Quincy! More to come...
Wonderful method and approach. thanks!
Merci Clovis!!!
Very good job! I Need a teacher like you!
I offer lessons online through FaceTime or Skype You can contact me here www.clovisnicolas.com
@@clovismusic007 Thank you Clovis, I'm Brazilian, our currency lost a lot of value due to a genocidal government in the face of the pandemic... If and when it get better, I'll talk whith you!
@@gustamyo Hope the situation is better now in Brazil... Just wanted to let you know that I've been updating new videos weekly on my Patreon page: www.patreon.com/bassworkshop
Thank you 👍
Master performance
I like it!
i really like your sound
Thanks a lot! I worked hard on it ;-)
Thank you!!!
The jazz double bass in a nutshell!. 1-3, 1-5!. Amazing lesson, straight from the fountain! Where could I find more lessons like that?
Thank you very much
Thanks for the feedback! I believe the 1-7 is important too because it helps the natural resolution of the 7th, the "tension" note. I am working on a video + PDF series that will be available soon (a month) on my website. I suggest to join the mailing list to keep in touch.
@@clovismusic007 Thank you for the info Mr. Nicolas!
Looking forward to it!!!
Buenísima la data!! Saludos!! 🇦🇷
With the the 3rd and 5ths you can pretty much do all chords for this tune , with the 7ths that is not the case, you have to mix it up a bit and resolve to nearest chord tone as for if you strictly play 7s (up or down) it can sound pretty bad.. Great lesson Clovis
Thank you very much!
Really helpful lesson and analysis. Thanks! On another subject: I'm curious what strings you are using in this video? Would you mind sharing that? The G looks like a gut? What are the others? IT SOUNDS GREAT!
To be honest, I don’t know the other strings besides the G gut. I had just bought that bass at the time of the video and there was some random steel strings on it that I haven’t identified. Glad to hear that you enjoyed the video!
Nice tutorial.
Problem for me as I am not a jazz musician, but I always want to learn jazz LOL, I used to play pattern so when I play this song, it's difficult for me to not do repetition of patterns, and I feel it boring.. (of course I cannot read notes and doesn't do transcribing, only from ears and feels.. and before you kill me haha.. I play Fender Bass instead of Acoustic Bass, which I always want to be able to play, but never have the chance).
FULL NEW VIDEO on "SO WHAT" bass lines here: ua-cam.com/video/HNwFD0-29hs/v-deo.html
Sorry, I don't hear the changes.
I'm not sure I understand... Which changes you don't hear?
@@clovismusic007Your notes are not "wrong" (except a few typos), but your note choices make it more difficult to hear the chord progression. There is little gravity or flow to your lines. They often sound random even though I am sure they are not. Perhaps if you found a way to connect chord changes by using more non-chord tones combined with thoughtful use if inversions. If you like, you can download and play an example of the lines I play on Giant Steps here: drive.google.com/file/d/1zeFxhSYzST72-eeNSZOdiF1kXs0MCNsP/view?usp=sharing
@@clovismusic007 Saw you removed my reply. Nonetheless, I hope you found my suggestions helpful.