BASS REPLAY originally published August 2024
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
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