BASS
NOTE DURATIONS AND THEIR EFFECT ON GROOVE | Adam Nitti
In this lesson I wanted to discuss how varying the lengths of your notes can significantly impact your groove . The old adage , “ Less is more ” has been used extensively with regards to music . No doubt you ’ ve heard that or read that before in your musical journey . It simply reminds us that “ busy ” is not necessarily “ better ” when it comes to our lines and phrases . But what if we took the concept a step further and instead of playing less notes , experimented with playing notes using “ less ” of a duration ? In other words , what if we created even more space by playing shorter notes ? In this context , we are not changing the activity level of the line . Instead , we are creating the perception of more space , which can have a dramatic effect on the line , itself .
Before I share some examples , let ’ s meditate on another musical truth ... The spaces in between the notes are every bit as much a part of the music as the notes , themselves . This is not something we are necessarily aware of when we start learning to play an instrument . In the beginning stages of our growth , usually we are preoccupied by the execution of the notes , paying considerable attention to our technique , timing , and accuracy . But when we start to read music , then the spaces become more important . We then must pay attention to the specific rest types and their durations in addition to the notes . The rests are just as valuable and important as the notes if our goal is to play a piece of music accurately .
So now that you have been reminded of the importance of space , let ’ s look at how varying the sizes of our spaces can change the feel of our basslines . We are going to take some example lines and compare two different approaches . Each of the examples in this lesson will be presented with both a “ long note ” version and a “ short note ” version . If you are already familiar with the musical terms legato and staccato , these pairings of lines could also be looked at as adaptations of these two approaches if that makes it easier for you to internalize the feels . None of these lines are super-complicated but take your time and make sure you play them accurately . Be sure to play each note exactly as written . For example , your eighth notes should have exactly half the duration of your quarter notes , your sixteenth notes half the duration of your eighth notes , etc ... This may seem obvious , but it is super easy when reading basslines to unintentionally stretch or shrink the lengths and not even realize it .
Examples 1a and 1b are examples of a bass line groove over D minor . They are meant to be played in a swing style . Target tempo = 160bpm . Listen to how the space added in 1b adds to the funkiness of the groove .
Examples 2a and 2b are lines played over C minor . Target tempo = 100bpm . Pay close attention to your sixteenth note durations when playing 2b . Resist the tendency to play the notes longer than their written length . You want the spaces to be very even .
Examples
3a and 3b are sixteenth note subdivision-based lines that are very syncopated . Play close attention to your accuracy , especially playing 3b . Target tempo = 80bpm .
Examples 4a and 4b have a strong eighth note pulse as their foundation . Watch the sixteenth note transitions at the end of each measure . Again , you will want to be very careful with your accuracy with 4b , as the sixteenth note rests should be very consistent and uniform . Target tempo = 78bpm .
Of course , each of these target tempos are just suggestions . Feel free to adjust them for your level of proficiency . The most important thing is to stay aware of the note and rest durations and don ’ t be afraid to count out loud if it helps you to play the rhythms with more accuracy ! I hope you will have fun with these , but don ’ t stop here . Come up with your own lines that allow you to practice long and short note applications . Until next time , happy practicing !
Adam Nitti Nashville-based Adam Nitti balances his roles as a solo artist , sideman , and educator . He has filled the bass chair for Kenny Loggins , Carrie Underwood , Dave Weckl Band , Michael McDonald , Susan Tedeschi , Steven Curtis Chapman , Mike Stern , Brent Mason , Wayne Krantz , and Christopher Cross , while also releasing five solo CDs to date . As a Nashville session bassist he has played on multiple Grammywinning and Grammy-nominated albums , and is also the founder of ...
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Example 1a
Example 1b
82 August 2024 Subscribe for Free ...