Photo by Cynthia Reed on Unsplash
THE DRUMMER AND YOU Now that you are thinking more about the value of space , let ’ s apply that to bassline creation . Imagine that we are needing to construct a bassline to complement a particular fast tempo drum groove accentuating a lot of 16 th note subdivisions . The groove is very syncopated and intricate . Your instinct might be to create an exciting complementary bassline based on 16 th notes that matches the syncopation of the drum groove , further accentuating its intricacy and creating a locomotive-like delivery from the rhythm section . This is certainly a legitimate approach , and one that may come across as being more impressive and technical . However , I want you to step back and think objectively about what ’ s happening in this scenario . The drummer is playing a sophisticated line that is occupying rhythmic space on a huge number of subdivisions in each measure . If you play on mostly the same subdivisions and occupy the same space as the drums , what happens to the bassline and the rhythm section in general ? Because the bassline and drum groove are so closely matched in rhythm , the rhythmic pulses emanating from each instrument individually are somewhat diminished because there is no room left to allow each intricate part to stand out from the other . In other words , there ends up being no space between the bass and drums and the busyness of each part effectively shrouds it from the other .
CONTRAST IS COMPLEMENTARY Now imagine that you took the opposite approach . Instead of matching or emulating the busyness of the drums , let ’ s say that you play a bassline with only a handful of notes per measure with long durations separating them from one another . For example , imagine playing mostly half notes and / or whole notes while the drums are driving those 16th note subdivisions . The bassline is not as technical or busy but what do you think ends up happening ? Now the bass is creating a foundation from which the frenetic drum groove stands out even more . Now there is a unique contrast between the rhythms played by each instrument . The delivery and momentum of the drum groove is made even stronger because the bass is not occupying the same space . As a result , something really interesting happens . Ironically , the simpler and much less busy bass line ends up standing out more than the busy one because it has its own contrasting rhythmic identity that is not mirroring the drum groove but instead allowing it to have its own space . It may seem counter-intuitive until you start to experiment with the two approaches , but it is an amazing revelation once you hear it !
CONCLUSION I want to reiterate that in the example scenario I shared , neither approach was necessarily better than the other . Both have merits , and in the end it ’ s all about what ends up delivering what you want in terms of your music ’ s identity . At the very least , I hope this lesson helps demonstrate that the choices that you make in activity level can significantly impact the power of the rhythm section and allow you to make wise musical decisions when needing to compose your parts . You can ’ t really become adept at bassline composition unless you practice it regularly , so make it a point to do it often . Record yourself with a drummer or drum loop taking contrasting rhythmic passes to see which ones stand out the most or speak the most to you .
Until next time , happy composing !
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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