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Berklee Bass Talk: Swinging With The Drummer– Push, Pull Or Line It Up?
Berklee Bass Talk: Swinging With The Drummer– Push, Pull Or Line It Up?
Ed Lucie is the Associate Professor of the Berklee College Of Music Bass Department, and he will be happy to answer your questions! So feel free to ask away, and we will forward your questions to Ed.
Q: When drummers swing, some play way on top of the beat, some pull way back, and others are somewhere in between. When playing a swing tune with a drummer, is it better for the bassist to push / pull in the opposite direction? For example, if the drummer is pushing it hard, is it better for the bassist to pull back? Or should the bassist try to swing with exactly the same feel as the drummer?
A: This is an interesting question that I don’t think has one solid answer that applies to all situations. The bottom line is always to make the music and groove to feel good. I remember when I played with Buddy Rich he played ‘on top’ and feathered his bass drum with ‘4 on the floor’. I had to lock in with his time and feel, there was no compromise. The result was a very powerful, forward feel to the groove. When I listen to Paul Chambers and Jimmy Cobb, the quarter notes on Cobb’s ride cymbal and PC’s quarter notes are perfectly lined up but in a relaxed way. Tony Williams and Ron Carter had something else going on, certainly together but looser.
More recent rhythm sections like Steve Swallow and Bill Stewart have perfect time (if that is possible) right in the ‘middle’ of the pulse, whereas John Patitucci and Brian Blade are feeling time together but not always stating it. So what is the answer? Listening; this is the key to finding your place with the drummer; the quarter note in the ride, the 2 and 4 on the high-hat. If he or she is on top or behind, I think we need to find a ‘middle’ but without fighting him. There is a difference between rushing and playing on top, and dragging or playing behind. If we find the middle then the groove will still have that forward motion and feel.
About Ed Lucie: In addition to being a Berklee professor and graduate, Ed has a Masters from the New England Conservatory Of Music. As a pro bassist, he has performed with Stevie Wonder, Buddy Rich, Warren Haynes & Gov’t Mule, Leo Nocentelli, and has performed both on Broadway and TV. You’ve heard him as a sideman on numerous albums, and perhaps have read his columns back when he was a contributing writer for Bass Player Magazine.
For more info on Ed Lucie, visit his Berklee page.
Bass Edu
Premiere! Bass Playthrough With Foetal Juice’s Bassist Lewis Bridges – From the Album, Grotesque
Premiere! Bass Playthrough With Foetal Juice’s Bassist Lewis Bridges – From the Album, Grotesque
Bassist Lewis Bridges Shares…
“Gruesome’s sparse intro marks a stark contrast from the intensity of the rest of the album. The original intention was to keep the bass simple but colourful, however as I worked on it, the lines grew more expressive and the more striking flourishes began to emerge. The intensity builds into a harmonic minor passage that takes us into the drop — a signature death grind cacophony. This is where Foetal Juice thrives. You’re getting a full-on right-hand barrage to in the face to take you into a groove-laden mulch-fest.
I owe my throbbing bass tone to the Darkglass Alpha Omega pedal borrowed from our sound engineer, Chris Fielding (ex-Conan), mixed with the clarity of the tried and true Ampeg SVT CL.
As mentioned earlier, colourful basslines are important, especially in a one-guitar band. Chucking some funny intervals and odd flourishes here and there brings life into the brutality. There’s no point sounding brutal if it’s not gonna be fucking evil too!
Recording this playthrough was hard work. This was not the fault of James Goodwin (Necronautical), who was kindly filming and is ace to work with, but because in true Foetal fashion, we had stinking hangovers — and that jam room was hot!”
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Bass Edu
Bass Lines: The Circle
Bass Lines: The Circle…
Hello bass players and fans of bass! This month we’re going to study “The Circle.”
The Circle of Fourths can also be called “The Circle of Fifths or just The Circle.
Practicing the scales, chords, and ideas in general via the circle has been a common practice routine for jazz musicians and highly recommended.
It is a disciplined way of working through all twelve keys.
Plus, many bass root movements to jazz and pop songs move through sections of the circle.
Fig. 1 – “The Circle”
See you next month for more full bass attack!
#bassmusicianmag, #basslines, #bmmbasslines, #groovemaniac, #thecircle, #thecircleoffourths, #thecircleoffifths,#scales & #chords.
Bass Edu
Approach Notes – Part 5
Continuing our lesson of Approach Notes, Part 5…
In continuing with the concept of approach notes being applied to chord tones, this lesson approaches the root, third, fifth, and seventh degree of each arpeggio inversion by incorporating a double chromatic approach from above, and a single chromatic approach from below.
The first examples approach the root of a G major 7th arpeggio as a double chromatic from above and a single chromatic approach from below -before continuing to the third, fifth, seventh, double chromatic from above/ single from below to the root, continue to the third, fifth, and come back down.
The next example approaches the first inversion of G major 7th arpeggio.
A double chromatic from above/ single from below approaches the third, continue to the fifth, seventh, root, double chromatic from above/ single below to the third, continue up to the fifth and seventh, and back down.
The third example approaches a second inversion of a G major arpeggio.
A double chromatic from above/ single from below approaches the fifth, continue to the 7th, root, 3rd, double chromatic from above/ single from below to the 5th, continue to the 7th, root, and back down.
This final example approaches a third inversion of a G major 7th arpeggio.
A double chromatic from above and below approaches the 7th, continue to the root, 3rd, 5th, double chromatic from above and below to the 7th, continue to the root, 3rd, and back down.
Be sure to pace yourself with these lessons to avoid burning out.
Being overly ambitious with your practice schedule can lead to unrealistic expectations. Try learning one approach note concept and one chord type a week. Change your practice routine as necessary and tailor it to your needs as a musician. Good luck!
Bass Edu
BASS LINES – The Blue Notes (Minor Blues Scale)
Hello bass players and bass fans! Happy New Year 2024!
In this issue, we are going to study the blue notes.
In blues, jazz, and rock, a blue note is a note that (for expressive purposes) is sung or played at a slightly different pitch from standard. Typically the alteration is between a quartertone and a semitone, but this varies depending on the musical context.
The blue notes are usually said to be the lowered third(b3), lowered fifth(b5) and lowered seventh(b7) scale degrees. The lowered fifth(b5) is also known as the raised fourth(#4). Though the blues scale has “an inherent minor tonality, it is commonly ‘forced’ over major-key chord changes, resulting in a distinctively dissonant conflict of tonalities”.
Blue notes are used in many blues songs, in jazz, rock and in conventional popular songs with a “blue” feeling.
Formula:
The A Minor Blues Scale
1 – b3 – 4 – (#4/b5) – 5 – b7
A – C – D – (D#/Eb) – E – Bb
The grades(blue notes):
b3, (#4/b5), b7
C, (D#/Eb), Bb
See you next month for more full bass attack!
#bassmusicianmag, #basslines, #bmmbasslines, #groovemaniac, #thebluenotes, #minorbluesscale & #bluesscale
Bass Edu
BASS LINES: Staccato for Bass
Staccato for Bass…
Hello bass players and bass fans! In this issue, we are going to study the technique known as staccato.
When we talk about the staccato technique, we are referring to a form of musical articulation.
In modern notation, it signifies a note of shortened duration, separated from the note that may follow by silence.
* In 20th-century music, a dot placed above or below a note indicates that it should be played staccato.
* The opposite musical articulation of staccato is legato, signifying long and continuous notes.
Fig. 1 – An example of a normal notation.
Fig. 2 – Is the same example but now with the staccato articulation
Fig. 3 – A basic groove played and written in a normal notation.
Fig. 4 – The same basic groove using the staccato technique.
So, at the end of the day, you as a bassist will decide what type of technique you will use depending on the effect you want in your performance.
See you next year for more full bass attack!!! Happy Holidays & New Year 2024!!! Groove On!!!
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