a weakness

[Ross Brown]

Some songs are good songs but have boring bass parts. I have come across a few lately that I have been asked to be prepared to play that have minimal chord changes (if any). Two things occur;

 

1). I have trouble maintaining a groove because nothing else is happening or

2). I gravitate toward the melody or some part of it. In reality (if I get too creative) this will likely mess up the sound of the song when I get to rehearsal (sounds OK while Im playing with the CD). I hear nothing but a single (or a few) note line on the CD.

 

I was surprised by this, but I had always picked the songs I played; now someone else is picking songs they want to play. I pick better songs.

 

Anyone want to share tricks, wisdom? I suspect I am just learning what a lot of you already know.

[EddiePlaysBass]

Sometimes playing half notes is what the song requires. Sometimes you get to shred.

 

There ends my wise advice

[alexclaber]

There's a huge amount you can do with just one note: Note placement, length, accenting, rests, slides in and out, bends, vibrato, dynamics, etc. Experiment!

 

Alex

[Gruuve]

As usual, Alex beat me to the punch. I was going to suggest that in those cases, experiment with how you play the notes versus what notes you play. Try some of the lines very staccato, try it with lots of sustain, try finger-picking, playing with a pick, slapping, thumb-picking, try palm-muting, left-hand muting, muting with the ring and/or pinkie on your right hand, add some ghost notes as pick-up notes, add some muted rakes as pick-ups, etc. There's plenty you can do from a rhythm and dynamics viewpoint...there's more to music than just pitches!

 

Have fun with it,

Dave

[Eric VB]

Originally posted by Ross Brown:

Some songs are good songs but have boring bass parts.

How very true.

I have come across a few lately that I have been asked to be prepared to play that have minimal chord changes (if any). Two things occur;

 

1). I have trouble maintaining a groove because nothing else is happening or

What's the drummer doing? You should be able to establish a groove with him, unless "he" is a drum machine (or just plays boom-tap-boom-tap all night long). Look to Dave's suggestions for how you can spice things up rhythmically, then go over this with the drummer so you two can lock in and groove.

2). I gravitate toward the melody or some part of it. In reality (if I get too creative) this will likely mess up the sound of the song when I get to rehearsal (sounds OK while Im playing with the CD). I hear nothing but a single (or a few) note line on the CD.

Well, in a typical song the bass functions to support the melody, but not so directly. I sometimes pick a part of the melody to play along with, usually as a harmony, but it's only for a few notes so it's not too intrusive. It may mean I'm playing counter to the established rhythm; as long as the rest of the rhythm section can keep it together, everything's fine. I find it's easier to throw in some counter, or at least riff during the breaks in the melody. If it's a slow ballad, though, it's hard to throw in some "Black Dog". Most of the time you have to be careful not to overdo it.

I was surprised by this, but I had always picked the songs I played; now someone else is picking songs they want to play. I pick better songs.

Then maybe this is not the thing for you. Unless this is the only gig in town, maybe it's time to move on?

Anyone want to share tricks, wisdom? I suspect I am just learning what a lot of you already know.

Well Alex and Dave have already unloaded a wealth of information. From a harmonic standpoint, if you know your theory well enough you can choose other notes to play than what was recorded. For example, you can almost always play a 5th to any chord; just by using root-5th-octave you can make something interesting (see "Hotel California" by the Eagles for an example).

 

But sometimes you're faced with a score that just calls for tied whole notes. There's nothing you can do; if you start adding anything it just takes away from the song. What do you do to keep from falling asleep after 50 measures of the same note?

 

You have to impart some feeling into your playing; you have to really commit yourself to the song emotionally. If it's really a good song, you won't be bored because you'll be sucked into it just like the audience would be. Make that note sound melancholy, a little bitter sweet to match the lyrics, and make the next one joyful and uplifting. If it's a love song, take the love from within you, or think of someone you adore, and project that love into the note you're playing. The audience should be able to feel your emotions. If it's a sad song, you should be on the verge of tears. Be expressive, be passionate.

[Eric VB]

Just as a followup, let me suggest that an URB can be more expressive, especially on sustained notes. You can do a lot with a bow that you can't do pizzicato on an electric bass guitar, even a fretless.

[Ross Brown]

Great replies so far. I do anticipate that what lacks in tonal "joy" might be compensated for in the energy of the performance. This is a new band (band is old, I am new). I guess I have to get used to those songs where less is best. I don't want to mess up the character of the songs by insisting on playing more notes than required. Kinda like when, in a conversation that has a lull in it, people tend to fill the silence. They usually say something stupid...

[Rowbee]

There's a song I play in one of my bands where I only play the same three notes all the way through, it sounds monotonous and before we started rehearsing it I was dead against it. But, it's such a hypnotic groove, I can't help but dance when I'm playing it and I see heads bobbing in the audience every time. I know that if I tried to play more it would ruin the groove.

[Eric VB]

Originally posted by Ross Brown:

Kinda like when, in a conversation that has a lull in it, people tend to fill the silence. They usually say something stupid...

Is that you, lug?

Great quote, Ross!

[lug]

Originally posted by RicBassGuy:

Originally posted by Ross Brown:

Kinda like when, in a conversation that has a lull in it, people tend to fill the silence. They usually say something stupid...

Is that you, lug?

http://users3.ev1.net/~woodd/lugcry.jpg

[Eric VB]

Originally posted by Rowbee:

There's a song I play in one of my bands where I only play the same three notes all the way through [...]

Sounds kind of like Ted Nugent's "Stranglehold". Everytime I try to put in a riff at the end of the phrase it clashes with the drummer's fill, so I'm pretty much locked into the same ol' groove throughout the song. (Well, except for the little bass solo when the song shifts down to F#. ) I do throw in some (restrained) slap bass at one point and at least the drummer digs it.

[Eric VB]

Why the sad face, lug, you nut? That sounded completely like a lugism! (Or, to be more clear, something you would have said.)

[DC Ross]

Stranglehold - fun on guitar, booooring on bass.

 

Originally posted by RicBassGuy:

Why the sad face, lug, you nut? That sounded completely like a lugism! (Or, to be more clear, something you would have said.)

Would that be a "Lugie"?

[zeronyne]

Originally posted by lug:

Originally posted by RicBassGuy:

Originally posted by Ross Brown:

Kinda like when, in a conversation that has a lull in it, people tend to fill the silence. They usually say something stupid...

Is that you, lug?

http://users3.ev1.net/~woodd/lugcry.jpg

Lug, I'm tucking that photo away to use in a future Photoshop travesty.

[Jbass46]

The band I am in does Another Thing Comin' - Judas Priest. Completely boring bass part but the guitar parts are cool and the band sounds excellent when we play it so I play my parts and support the band. I get to have my fun later with stuff like Red Barchetta and Limelight by Rush, Pull Me Under by Dream Theater, Hallowed Be Thy Name by Iron Maiden. Not every bass part is exciting but they are all essential to the music.

[Fred TBP]

Negotiate with the band: give them free reign over most of the set list and choose one or two special songs that feature your awesome technique. Unlike guitar players who have to solo every 3 minutes, a single, well-rehearsed, really-kickass bass solo is all you'll need to preserve your reputation as a monster musician.

 

And it doesn't even have to be a solo, just a good groove with you and the drummer could take it over the top. The less time you spend showcasing yourself, the more they'll notice you. Strange but true. Go play.

 

You can make faces, dance around and wear silly outfits onstage the rest of the time. Just keep the groove going.

[bottle12am]

Just have to ask yourself--

 

WWJFMD?

 

(What Would Johnny F#$king McClay Do?)

 

One day, may we all be as awesome as him

[jeremy c]

Nothing happening?

 

You're playing a few simple notes. That's definitely something.

 

Play them perfectly in time and with beautiful tone and you will have your groove.

 

It's actually more of a mental thing than a physical thing....you're thinking you should be doing something which is keeping you from staying in the moment and doing what you are doing.

[davio]

My current band had a handfull of songs ready when I jumped in. I tried playing more interesting and busier (to all different degrees) basslines in hopes of not having to resort to 8th and 16th note root-dwelling lines but to my initial dismay nothing else sounded as good as the most basic lines I could force myself to play. I got over myself and learned to make those boring lines rock by doing a lot of what Alex suggested earlier. I guess I can stand to let one of the other guys hog the spotlight for a song or two.

 

Lug, that pic makes me want to watch Anchorman again. "You come out like that with poop in your mouth, get the poop out of your mouth." "[Lug], if I were to give you some money out of my wallet would that ease the pain?"

[carpedebass]

Here's my 2 cents...music is equally the notes that are NOT played. I think a quality bass player is one that knows when NOT to play as well as when to shred like crazy!

[Ross Brown]

Thanks all! I am not really a "spotlight" player. I don't need to be playing the busiest lines, I just wondered how to make the simple lines interesting. A confidence thing I guess. It is good to hear what I guess I already knew.

 

Turns out the band that I was refering to has some other songs that will be a blast to play. We played 3 hours on Saturday. They were also auditioning a guitar player. I am going back next weekend for more. Guitar player didn't know the songs so we had to teach/wait. A little boring. He was talented, but...

[carpedebass]

Ross, best of luck with your new band. Give 'em all you've got!

[lug]

Originally posted by carpedebass:

Here's my 2 cents...music is equally the notes that are NOT played. I think a quality bass player is one that knows when NOT to play as well as when to shred like crazy!

i.e Tony Levin.

 

BTW, I don't want to brag, but I just pulled off a 64th note run consisting of all rests that would have Victor, Stanley and Les begging for lessons.

[carpedebass]

Originally posted by lug:

Originally posted by carpedebass:

Here's my 2 cents...music is equally the notes that are NOT played. I think a quality bass player is one that knows when NOT to play as well as when to shred like crazy!

i.e Tony Levin.

 

BTW, I don't want to brag, but I just pulled off a 64th note run consisting of all rests that would have Victor, Stanley and Les begging for lessons.

You are indeed...THE MAN!!!

[Edendude]

Playing less is always more difficult than playing more, especially when your job as the bass player is to be the 'bus driver' of the groove.

 

However...

 

Very often...less really is more, in this regard.

 

One of the things you can do to help discipline yourself, is to learn some Reggae basslines. So much of what makes a Reggae bassline work, is knowing when NOT to play. While this is different from keeping a solid and very simple groove going, it requires the same kind of discipline, and a resistance to the temptation to over play.

 

Here's a recording of my band playing a song with a very slow groove, and a pretty boring bassline. I find this kind of playing quite difficult, but very satisfying when I hear the track back, and can see how the simple bassline is a critical element to the overall performance.

 

Click here to listen...

 

Turn Me On (audio file)