BASSGUITAR
WHAT DOES IT TAKE TO BE A SESSION BASSIST ? PT . 2
Last time we talked about some of the emotionally and physically draining challenges one can encounter as a session bassist . There are also plenty of musical requirements , which can vary depending on how many different areas you ’ d like to be able to cover as a session player .
In case you haven ’ t heard , we have to be able to play many styles on command , all while sounding like we have been “ owning ” that style all of our lives . In fact , you really should be able to sight examples and play from the styles of rock ( from Elvis to U2 ), funk ( from Sly and the Family Stone to Lettuce ), pop ( from Michael Jackson to Bad Suns ), jazz ( from Dizzy to Daft Punk ), country ( from Porter Wagoner to Keith Urban ), and some others ... but you get the idea . To accomplish and be ready for this , here are some musical attributes you must attain .
Theory training is essential to understanding intervals , chord spelling , scales , modes , etc . You must be able to confidently speak the “ language ” at a session . As a bassist you need to fully understand your musical role as the root of every chord and the proper note spelling of every connecting line that you are going to play . More importantly you must be able to recognize when what you ’ ve played is wrong so you can fix it . In session situations you can ’ t just “ jam ” and play what you want . You must play what you need to play and nothing more .
Pocket is a term for a “ good groove ” to your playing . The only way you can develop this ability is by listening to the masters of Motown , Muscle Shoals , etc . and examine every nuance - then try to copy them . The time that you invest in this should be equally divided with the time that you spend playing to a click or a quantized drum machine . Only then can you grow your own brand of solid , internal clock . This takes a lot of practice and patience . When you ’ re on a session and the producer mentions “ McCartney style groove ,” “ Jameson groove ,” or “ Flea groove ,” you ’ ve got to know and understand exactly what they mean .
The number system is being used more everywhere these days , especially with the advent of 3 or 4 chord worship music . There are books on the system but if you study music theory you will find that it ’ s the same process as chord analyzing . The difference is that the Roman numerals are replaced with numbers . I ’ ve worked in other countries on live events where worship leaders understand the value of this system , especially when they start playing a song that the band doesn ’ t know . The leader merely holds up fingers to indicate the next chord . It makes sense ! It ’ s as simple as knowing what letter key “ 1 ” is . If you ’ re unfamiliar with the number system that ’ s something you ’ ll need to add to your bag of skills .
Dictation is a skill that is most important when working in the studio with artists who don ’ t understand why they make the music that they do , or how to write it down ( I encounter this all the time ). In sessions , the bassist can often be the “ designated chart writer ” as easily as anyone else . So it ’ s important to be up to the challenge ( and sometimes they even pay you more !)
The best way to learn this skill is to practice . It ’ s faster in numbers ( easier to write numbers than letters ), but either way , start by listening to songs that you know and write your own charts to the songs . It ’ s slow going at first , but practice makes perfect !
GARY LUNN Session player / producer / writer in Nashville , TN . Attends Grace Church ( gracechurchnashville . com ) in Franklin , TN . Email him questions , comments , or for scheduling at GaryLunn @ Me . com
Jan � Feb 2017 WorshipMusician . com
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