Great exercise, I'll have to implement this. Between Joe Hubbard, Rufus Philpot and you, there's so much content, it's hard to assimilate all of it! Thank you.
Thank you so much for your kind words! It's fantastic to hear that you found the exercise valuable. It's always my goal to provide useful content alongside so many great bass educators on UA-cam. Stay tuned for more content that I hope will be just as helpful. Your feedback and support mean a lot! 😎🙏
@@MarcoPanzarellaBass Marco, I'm trying to learn the exercise now and I just want to check: First I play diatonic enclosures on every note of the chord - R - 3 - 5 - 7, then I play the minor arpeggio from the 3rd, then I play the diminished scale from the 5th or the diminished dominant from the 7th, then I play a melodic minor from the 4th? Now, I am a bit confused, why does the melodic minor work over the F#ø, since it doesn't contain the root (F#) at all? It also doesn't have the 3rd from D7... My head is going to explode, I'm looking at a 5 minute video for 40 minutes now, since I have no experience with diminished nor melodic minor scale. The double switch is confusing me, seeing F#ø as D7 without a root, then switching it around and playing C melodic minor over it. And one more thing, should this be practiced for example with a backing track that goes I, III-, V, VIIø through all 12 keys, or just do it with a metronome? Sorry for so many questions, but I really want to understand it, not just play it blindly.
@@AlexandarShmex have a look a bit here: bassadvice.com/major-chords-bass-exercise-guide/ To address your question about melodic scales: I like to think of the F# half-diminished chord as a D7 with a 9th. When playing over dominant chords, a great approach is to start the melodic minor scale from the 7th degree, which in this case is C. This gives you a sequence of 7, Root (R), flat 9 (b9), flat 3 (b3), 4, 5, 6. Interestingly, you can include the flat 3 (b3) over a dominant chord. This concept is similar to how you can use either a major or minor pentatonic scale over a dominant chord.
@@AlexandarShmex I recommend practicing this concept with a short backing track that uses all major chords. This approach works well because everything harmonizes over major chords, especially when you start from different chord tones. It's a great exercise to break the habit of always starting from the root. Moreover, the melodic minor scale is effective here because you can also view it as a IV minor in a major key.
@@MarcoPanzarellaBass Thank you so much Marco, for taking the time to explain it to me. It's clearer now, this exercise serves to teach us the possibilities what to play over a major chord, besides the same old root starting patterns. The theory behind half-diminished, dominant and all the intervals isn't crystal clear, but it will be with practice. So, for example, I can practice going through all major chords through circle of fifths/fourths, playing through every variation and mixing them up, for example: I play the F chord using the enclosure, Bb playing the D minor arpeggio, Eb playing the diminished Bb scale, Ab playing the Db melodic minor? God, I hope I understood it properly, it's all new to me, I just got into inversions!
What a lesson❤, thankuu very much, i have been searching things like this and i didnt meet someone explains like this before. But explanations are so fast 😊
Ah thank you so much my brother, I really appreciate you taking the time to leave me a comment and feedback. I'm working on some new tutorials on different things so hopefully you will find other interesting lessons. 🙏😎🎸❤️
@@MarcoPanzarellaBass such practical suggestions! For the first time I saw someone who is explaining connection between root chord/scale and alternative scales/lick over tones in scale. Many thanks
@@reggierental no boxes apart from the audio interface then clean no effects no simulators. I eq a little at the end and if I want to pop out the bass a little more I use a compressor.
I had a compressor some yrs ago Thanks for that info Do you have a UA-cam video show how to set it. Also I think I have you on IG you do classes right?
@@reggierental it’s good to have a compressor, get one for your DAW and one for the live gigs. I did write something about tone, I should have it somewhere. I do online lessons yes 😎✌️🎶
Very interesting but music in the background is disturbing, it's not in the same key and it's not easy to focus on your bass 😉 Keep on, i like your playing very much
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Thank you so very much I really appreciate and enjoyed this lesson
thank you for watching the video, I’m glad you like it 😎🙏🎶🎸
Thanks Brother❤
Fabien! 😎🙏🤜🤛
Great exercise, I'll have to implement this. Between Joe Hubbard, Rufus Philpot and you, there's so much content, it's hard to assimilate all of it! Thank you.
Thank you so much for your kind words! It's fantastic to hear that you found the exercise valuable. It's always my goal to provide useful content alongside so many great bass educators on UA-cam. Stay tuned for more content that I hope will be just as helpful. Your feedback and support mean a lot! 😎🙏
@@MarcoPanzarellaBass Marco, I'm trying to learn the exercise now and I just want to check: First I play diatonic enclosures on every note of the chord - R - 3 - 5 - 7, then I play the minor arpeggio from the 3rd, then I play the diminished scale from the 5th or the diminished dominant from the 7th, then I play a melodic minor from the 4th? Now, I am a bit confused, why does the melodic minor work over the F#ø, since it doesn't contain the root (F#) at all? It also doesn't have the 3rd from D7... My head is going to explode, I'm looking at a 5 minute video for 40 minutes now, since I have no experience with diminished nor melodic minor scale. The double switch is confusing me, seeing F#ø as D7 without a root, then switching it around and playing C melodic minor over it. And one more thing, should this be practiced for example with a backing track that goes I, III-, V, VIIø through all 12 keys, or just do it with a metronome? Sorry for so many questions, but I really want to understand it, not just play it blindly.
@@AlexandarShmex have a look a bit here: bassadvice.com/major-chords-bass-exercise-guide/
To address your question about melodic scales: I like to think of the F# half-diminished chord as a D7 with a 9th. When playing over dominant chords, a great approach is to start the melodic minor scale from the 7th degree, which in this case is C. This gives you a sequence of 7, Root (R), flat 9 (b9), flat 3 (b3), 4, 5, 6. Interestingly, you can include the flat 3 (b3) over a dominant chord. This concept is similar to how you can use either a major or minor pentatonic scale over a dominant chord.
@@AlexandarShmex I recommend practicing this concept with a short backing track that uses all major chords. This approach works well because everything harmonizes over major chords, especially when you start from different chord tones. It's a great exercise to break the habit of always starting from the root. Moreover, the melodic minor scale is effective here because you can also view it as a IV minor in a major key.
@@MarcoPanzarellaBass Thank you so much Marco, for taking the time to explain it to me. It's clearer now, this exercise serves to teach us the possibilities what to play over a major chord, besides the same old root starting patterns. The theory behind half-diminished, dominant and all the intervals isn't crystal clear, but it will be with practice. So, for example, I can practice going through all major chords through circle of fifths/fourths, playing through every variation and mixing them up, for example: I play the F chord using the enclosure, Bb playing the D minor arpeggio, Eb playing the diminished Bb scale, Ab playing the Db melodic minor? God, I hope I understood it properly, it's all new to me, I just got into inversions!
very nice explanation
Thank you so much 🙏😎✌️
What a lesson❤, thankuu very much, i have been searching things like this and i didnt meet someone explains like this before. But explanations are so fast 😊
Ah thank you so much my brother, I really appreciate you taking the time to leave me a comment and feedback. I'm working on some new tutorials on different things so hopefully you will find other interesting lessons. 🙏😎🎸❤️
Good vid, you have great technique,,,,,,,
Thank you man 😎🙏
Grazie!
di niente bro!
@@MarcoPanzarellaBass such practical suggestions! For the first time I saw someone who is explaining connection between root chord/scale and alternative scales/lick over tones in scale. Many thanks
@@TheCvele001 ah man you are very kind, thank you so much, I’m glad it helps 🫡😎🙏
Thanks for the video bro..
I love the tone how do I get it?
@@reggierental it’s a 62 reissue early 90s, I can get lots of different tones from it due to the stack knobs
Is the tones coming from the bass by adjusting the settings or are you using one of those boxes?
@@reggierental no boxes apart from the audio interface then clean no effects no simulators. I eq a little at the end and if I want to pop out the bass a little more I use a compressor.
I had a compressor some yrs ago
Thanks for that info
Do you have a UA-cam video show how to set it.
Also I think I have you on IG you do classes right?
@@reggierental it’s good to have a compressor, get one for your DAW and one for the live gigs. I did write something about tone, I should have it somewhere. I do online lessons yes 😎✌️🎶
Very interesting but music in the background is disturbing, it's not in the same key and it's not easy to focus on your bass 😉 Keep on, i like your playing very much
Got it! Turn down the music and remove it when playing bass, thanks! 😎🙏
Can you turn your bass down? I cant hear the background music
It's a nice backing track, I will make a video of how to play over it 😂
Thanks Marco
@@bidwellchipili8607 thank you for checking out my video! I hope you will find it helpful 🙏😎🤜🤛
Like someone commented below, good info but please lose the background music. 🙂
🙏😎🤜🤛