D. Chorus 1: A lift in energy, but not as big as the previous( or the next) Interlude. Even though the kick drum is solidly on every beat of each bar, our bassist should play long, simple notes to approximate the synth bass used on the original recording. If you’ re confident, leave a gap- no bass- for the last bar of the chorus as“… great things” is sung.
E. Interlude: Another dynamic jump up. Back to“ 4 on the floor” from the drums with driving, locked-in 8th or quarter notes from bass guitar.
F. Verse 2: A step down in dynamics with a super fun chance for drums and bass guitar to work together. There’ s a pair of kick drum thumps on“ 1” and“ 1 &” of each bar. Bass guitar should play two notes with each pair. Sustain the bass note between the 1st and 2nd pairs. But roll off and leave a gap between the 2nd and 3rd. Follow that pattern for the whole verse. I hope you can hear( and feel) how the gaps in your playing are every bit as important as the notes!
G. Chorus 2: Big! More“ 4 on the floor” from drums, so more driving, lockedin bass guitar 8th or quarter notes.
H. ½ Interlude: Still big. Even more driving 8ths or quarter notes. If it’ s within your ability to do so, reproduce the pro bassists slide up the neck to play a higher octave for the last bar. Very exciting and loads of fun to play if you can nail it!
I. Bridge 1: Definite, sudden reduction in energy, but not too much. Even though the kick drum is playing every beat of each bar, communicate the reduced energy by using long, sustained whole notes.
J. Bridge 2: The kick drum is still on every beat. Bass can help increase the dynamics by shifting to quarter notes, and perhaps 8th notes towards the end of Bridge 2.
K.“ Sugar” ½ Chorus 3: Bass guitar should still play, but only one, long, sustained note for each new chord.
L. ½ Chorus 3: Big“ 4 on the floor” drum energy here, so driving bass guitar to match.
M. Chorus Extension: The excitement continues. More driving bass locking with the drums.
N. Outro / Interlude X2: If you’ re more
O. advanced, bassist and drummer could leave off the first beat of the first bar, landing powerfully on the second beat. Not essential though. In either case, drums and bass drive our song home.
Post Outro: Hit the first beat of the first bar confidently. Let the note fade, then bass guitar is done.
How’ d you travel there? Make sense? I hope so. Do this for every song in your repertoire. Develop yourself as a critical listener. Be intentional. Use dynamic well. Find your groove. It’ s well worth the extra effort.
I have no doubt that your congregation will warmly respond and more passionately lift their voices in the worship of Almighty God!
Grant Norsworthy Grant is the founder of More Than Music Mentor- providing online & onsite training for the heart & the art of worshipping singers, instrumentalists & technicians. Grant’ a passion is to IMPROVE musicality, INCREASE participation, INSTILL unity & INSPIRE worship in The Church worldwide. An Aussie who also lived in Nashville, TN, USA for 17 years as a pro CCM muso, today Grant lives and works from his Nelson New Zealand home base.
MoreThanMusicMentor. com Facebook. com / GrantNorsworthy
September 2025 Subscribe for Free... 41