BASS
[ 5 TIPS FOR IMPACTFUL BASS LINES | Norm Stockton ]
We bassists often employ what I refer to as the build into bigger sections where the emotion is involves an exaggerated, wider and fast vibrato
“FedEx approach” to delivering our bass lines (if any heightened or broadened. Simple stuff but makes a spanning both sides of the fret between two notes.
of you work for FedEx, btw, I love you and use your huge difference. I refer to this approach as The Abe after the iconic
bassist Abraham Laboriel, Sr., who uses it to great
services all the time) but it’s like we are handing a
clipboard to the listener requesting a signature for the NOTE DURATION effect. A good starting point for incorporating vibrato
16 bars of 8th notes in A that we are delivering. And The exact same bass line played staccato (notes is adding a bit to sustained notes.
that’s about the extent of the emotional involvement cut short) vs. legato (each note ringing all the way to we have in the transaction. the next note) will say something quite different. 8th REGISTER
notes can alternate from sounding funky or quirky This basically refers to how low or how high a note is
I view my role as a musician in the worship to driving and aggressive simply by manipulating played. The A at the 5th fret of the E string obviously
environment as one of trying to musically convey note duration. This is controlled primarily with the sounds quite different from the one at the 19th fret
what is happening lyrically and spiritually. To that fretting hand, but the plucking hand is also involved. of the D string. However, slightly less obvious but
end, I seek to express the emotion of the moment; if Experiment with leaving some air in the bass line nonetheless profound are the timbre variations
it’s a celebrative praise-fest, I’m trying to convey that (during the verse?) and letting the notes ring in a between the A’s found at the 2nd fret of the G string,
joy and exuberance, or if it’s a David-in-the-Psalms bigger chorus. Or perhaps cut your notes short to 7th fret of the D string, 12th fret of the A string and
sort of heartcry, I’m trying to emote that sentiment on leave room for the snare drum during the verse but 17th fret of the E string; all of those notes are the
my bass. By the way, I’m not advocating emotional play legato 8th notes during the chorus? Context is exact same note, but voice quite differently due to
manipulation, but rather seeking to avoid a musically everything; listen and see what works. the variation in string gauge. The lighter strings lower
on the fingerboard give the note a delicate thinness
schizophrenic statement… where there’s a conflict
between the lyric and the music.
SLURS/HAMMERS while the same note up the neck on heavier strings
Plucking or picking each individual note is sometimes sounds thicker and warmer. Pick the register that
Emoting on your bass involves more than just cool, but can also sound a bit stiff or mechanical best suits the musical statement of the moment.
“feeling” it as you play (e.g., I’m scowling so my bass depending upon the context. Slurs and hammers line will sound “mean”). In the same way that speech involve movement in the fretting hand following the As a side note, the register can even affect the
is hugely impacted by how the words are being said initial attack. Slurs can be in the form of sliding the apparent dynamic level (e.g., playing a note with
(shout vs. whisper, in-un-ci-a-ting every syllable vs. fretting finger up or down to another note after the the same dynamic level an octave higher will sound
letting the words flow together, etc.), how we phrase first note is voiced (i.e., without plucking the string “smaller”). I frequently employ this, typically on
our bass lines has a dramatic effect on what is being a second time). Hammers typically involve striking heavier strings and higher up the fingerboard to keep
conveyed. A big part of making our bass lines more a higher note on the string with another finger on from sounding too thin, when playing earlier verses in
impactful is effective use of phrasing, including the fretting hand subsequent to playing the initial “up” songs where dynamic contrast is needed while
dynamics, note duration, slurs/hammers, vibrato, note. Any of these approaches can make a bass still keeping the overall energy level high.
register… the elements that I refer to collectively as part sound more lyrical and expressive. Instead of the spice. abruptly jumping to the higher register, perhaps Here’s a fun exercise to get the ball rolling. Turn on
experiment with sliding or slurring into that higher the TV and plug in your bass. Mute the TV volume
DYNAMICS note… and maybe adding a bit of vibrato? Keep and provide a sound track to everything you’re
In its most fundamental sense, dynamics refers reading… watching (including commercials!). Try to use the
spice to express and support the emotion of the
to how loud or how quiet. Just like speech, the
same word can convey very different sentiments if VIBRATO whispered vs. shouted at the top of one’s lungs. In a There are a number of different approaches to musical context, it’s good to minimize extreme ends vibrato that can be employed on the bass guitar, Additionally, listen to your favorite musicians
of the dynamic range (your audio engineer will thank ranging from subtle to quite overt. This “shaking” of (including singers) and see if you can hear the above
you!), but the effective use of dynamics in your bass the note can give a sustained note a singing quality phrasing elements in their music. Emulation is a great
line is a great way to help the song say something on (as when employed by a skilled vocalist). The depth place to start… use that as a springboard for your
an emotional level. Try dropping down dynamically and speed of the vibrato can make the part feel own exploration.
when the statement is more intimate or introspective, alternately relaxed or nervous. A funkier approach Have fun & groove hard!
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December 2017
onscreen images.
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