Three Ways to Improve Any Groove
Although the meaning of “groove” may differ depending on the style of music, the concept itself is important to musicians in every genre. As bass players, our “feel” — the way we co-create and hold down the groove — is our calling card. When there are problems with the groove, paying close attention to our timing, our note choices, and our dynamics are three of the best ways to get things back on track.
1. LOCK IN THE PULSE
“Having good time” means being able to not rush, not drag, and intentionally play ahead, on top of, or behind the beat. If there’s something wrong with the groove, this is one of the first things to fix.
Some factors that may negatively affect a groove include not having good time, not being able to lock in with the drummer, and not listening to what else is happening. Improving any groove starts with making sure we are fulfilling the role of the bass, and that role begins with a consistent pulse.
In the practice room, play along with a drummer (preferable whenever possible), drum machine or metronome to develop your sense of timing and work on grooves. Record yourself often so you can hear whether you’re rushing or dragging. Even the smallest shift, such as laying back slightly or sitting right on top of the beat, can completely change how a groove feels.
2. CHOOSE THE RIGHT NOTES
Note choice is how we outline chord progressions and define harmony. Problems with the groove often come from not knowing the music, not understanding what’s right for the style, or using inappropriate note density (too many notes, or too few).
Listen carefully to how your favorite players approach note choice in terms of when they keep things simple, when they add embellishments, and how they support the harmony without getting in the way. As bass players, we connect the harmonic world (keys, guitar) with the rhythmic world (drums, percussion), and our note choices are central to that role.
SHAPE THE ENERGY
Dynamics refers to how we strategically use volume, note density and silence. Each performance is a musical conversation, and just as in any dialogue, we use space, silence, loudness and softness, emphasizing some points more than others as we follow the flow. The conversation begins in the rehearsal room, where leaning into the things that work — and finding solutions to the things that don’t — makes all the difference to what happens onstage.
IN THE STUDIO
Onstage, everything happens in the moment, but recording gives us a chance to try different approaches to gluing it all together. Professional session musicians use all the tools at their disposal to satisfy producers, who often have strong opinions about what the track needs — which is why versatility and a willingness to pivot are paramount. Let’s look at an example.
Suppose that a producer wants you to add bass to a 48-second demo. The music is laid-back hip-hop that’s anthemic, spacey and evocative, and although there are various signposts — stomps that start the track but disappear after six seconds, a subtle melody line that might be the basis of a future vocal, a riser that goes into a drum fill at 0:29, and a synth figure at the end that outlasts everything else — there isn’t much harmonic development. She’ll probably cut this demo into several smaller segments and add other instruments, and she might get a remix out of it, too. Here’s what the track she presents you with sounds like:
You listen and determine that the main harmony is in G minor. “Just make it groove,” the producer instructs you, adding, “Do your thing, but don’t take up too much space.” You pick up your Yamaha BBP35 5-string and start playing a slap bass line loosely based in that key:
The G minor tonality works, but the bass line isn’t always in time; notice how it slows down and speeds up. What’s more, at around 19 seconds in, the lick in A takes the listener out of the vibe, and the C you played at 0:25 is downright jarring. And while the producer appreciates that you didn’t take up too much space, she wishes you hadn’t completely ignored the drum fill at the 30-second mark. The last part of the final bass phrase, which begins at 0:34, gradually peters out, and the last 9 seconds of the track are too empty.
After the producer tells you what’s not working, you decide to play fingerstyle instead and use space a bit differently, building a line around a strong G note, like this:
The fingerstyle tone is less obtrusive than slapping, and the producer is pleased to hear you subtly acknowledge the drum fill; she especially likes the phrase you added at the end. In several places, though, the bass line is ahead of the beat. The producer wants it was more integrated into the track, more laid back, more… something. Bolder and deeper, perhaps? She’s not exactly sure what she’s looking for, but she’ll know it when she hears it.
Using compression and EQ, you craft a new tone on your 5-string that accentuates low mids, occupying the space that a keyboard bass might. After a few listens, you decide to zero in on the synth brass, which inspires a behind-the-beat, staccato line in C minor that has a hint of menace. You keep your fills to a minimum, leaving space for whatever else the producer might add, and match the drum moment with a fill of your own, ending the track with a flourish.
The producer is happy. Mission accomplished!
GET GROOVIER
As mentioned earlier in this posting, one of the best ways to improve your groove is to listen closely to your bass heroes. Notice how they use dynamics in different parts of a song, when they choose to be simple or fancy, and how they co-create the pulse of a song with the drummer and the other instrumentalists.
Putting your own playing under the microscope is just as important. After you’ve focused on details, take a moment to appreciate the delicious irony that many of the best grooves convey a feeling of ease: Your favorite bass players probably aren’t obsessed with perfection, and the best feels don’t sound forced. That blend of rigor, big ears, and willingness to go wherever the music wants to take you makes you a true guardian of the groove.
Keep reading
