at this point is to maintain restraint to the best
of your ability - just hold the groove together.
Don’t play any fills, runs or busy transition licks.
Let the song simmer in the groove so that
everyone feels secure and the pocket feels
good. You may want to maintain a simpler
pattern leaving a significant amount of space in
your pattern so that the song can “breathe.” Try
to “lift off” of your sustained notes right when
the backbeats “hit” so that the snare can be
clearly heard (drummers love this…). I think you
will find that its very effective, but you have to
do it consistently over the duration of a four or
eight-bar phrase. The key is to listen.
THE BRIDGE: Listen to what the lyric is saying.
It could be “up” or it could be “down.” If it’s
“down” you may want to either drop out
completely or move to a mid-to-high octave,
playing very sparsely. If the bridge is “up,”
determine if eighth notes would suffice to build
the section, or perhaps a combination of the
chorus kick pattern with a slide-off added in to
every other bar. You just have to go with your
feelings for the song, trying new ideas as they
come to you. The key is to listen.
AN INSTRUMENTAL SOLO: Dynamically, it’s
probably going to be “up” so keep the energy
on stun, but not too busy so that the soloist can
soar above the foundation. Remember, the solo
is for the soloist, not the bassist. Your job is to
be the foundation, and the key is to listen.
THE FINAL CHORUS: It could be a break down
to just drums and vocals so you might want
to lay out completely until the appropriate time
to re-enter. Again, this will have to be your call
(or the arranger’s call) in the moment. When
the band re-enters, try playing the lowest root
notes you have and play them with thunderous
confidence in whatever driving pattern you feel
is needed. You may feel inspired to play a nice
melodic “step-out” line to compliment a phrase
or a musical moment, but be careful to choose
the most tasteful opportunity to do it. If you
make a mistake and miss the correct root after
your fill, well, you probably will be sent to bass
jail. Ha! If there is an unpardonable sin in the
bass world, this is it. This will cause quite a train
wreck and completely kill the momentum of the
song. (Sorry... that was harsh. I’m kidding about
the bass jail thing.) But, the key is to listen!
THE SONG ENDING: This is a big deal. It’s the
last thing people remember about a song. If it
is driving, then drive it to the end! If there is a
ritard leading up to the final chord, watch the
drummer closely for the tempo cues if you can
see him. Now is the time to stop listening. Ha!
THE SIMPLE VERSION
Listen to the demo. Put your bass on. Read the
chart. Play the song. Listen!
Gary Lunn
Gary is a session player/producer/writer in Nashville,
TN. He plays for many recording session accounts,
does home recording and producing. Email him for
questions, comments, scheduling, or lessons at:
[email protected]
July 2020
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