Once the fundamental part is established and the ensemble is grooving hard (which, by the way, is a BLAST, isn’t it?!?), an effective way to add a bit of creativity and interest is to inject occasional fills or variations into the basic motif. The key, however, is to incorporate them in a way that doesn’t sacrifice the groove and is musically in context.

Back in Lesson 2, we discussed the importance of playing a part, and having a thematic approach to our playing. The use of variations (often employed more liberally the longer the original motif is repeated/reinforced) is the other half of this concept of theme and variation. Once the basic motif for the chorus of a tune is established during the first time through the song, the bass line during the 2nd chorus can usually include a couple of variations (as overt or as subtle as would be musically appropriate), while the final repeating outro choruses can involve progressively more frequent and overt variations from the original part.

Harmonically, employing the meat & potatoes groove intervals keeps the basic groove centered and focused, while the variations can incorporate more tension or interest through the use of the modes, etc.

I think of fills as a dash of spice on the arrangement. In the same way that a chef might add a little cilantro to a particular dish as a subtle flavor accent, the right bass fill can be a pleasant enhancement to the tune. However, it’s always a drag to hear players turn the tune into an overflowing mound of cilantro with their nonstop licks! The groove and foundation of the ensemble is usually compromised in the process, as well.

Notwithstanding musical situations where the whole idea is to be quirky and eccentric, the vast majority of musical environments will require that we pay attention and be sensitive to the musical context when playing fills and variations. If the arrangement involves a basic 8th-note subdivision throughout, it will probably sound inappropriately busy to lay into a flurry of 16th- and 32nd-notes in a fill. Or our last day on a country gig will likely be the day we try to throw a bebop lick into the midst of a country ballad! The goal is to be creative, but appropriate for the setting.

In the following clip, check out a couple of overtly bad fills...

Audio Example 1

In the context of an 8th-note feel, these fills are painfully inappropriate. In the first example, we’re talking WAY too many notes-per-bar...while in the second pass, the rhythmic syncopation and choppy phrasing come out of nowhere to assault the unsuspecting listener.

Contrast that with these fill examples...

Audio Example 2

 

The use of 8th-notes is probably a bit more effective here, based upon the rhythmic context.

Here’s a transcription of those fills...

FIGURE 1

 

Note: Alumni of The Art of Groove, Level 1, will notice the use of the Lydian mode in both versions of Example 2, with rhythmic variations creating the distinction between the two fills.

I definitely encourage you to be selective about where you play a fill. It’s so illuminating to hear how great session players approach this in pop settings. They’ll usually play fairly simple parts, but with impeccable time, feel and phrasing. Then in one or two places later in the tune, they’ll thrown in a tasty little fill that’s like the cherry on top of the sundae. They’re completely fulfilling their role of providing solid, tasteful support and letting the song speak, while adding an occasional something extra that makes the tune special and makes listeners smile. Don’t feel the need to play a fill every 4 or 8 bars!

EXERCISE 1

Play through the chord progression from Example 2 using a simple 8th-note-based part of your choice along with our drum groove. Ensure that it’s a repeating figure and works with the kick drum pattern.

 

Audio Exercise 1 Drums

 

Play a fill every 4 bars (don’t worry about what I said earlier - this is for practice purposes only!). Try to keep an 8th-note subdivision with the fills, and phrase them in a way that is keeping in context with your groove. Remember that they can be subtle (a slide to a higher register, etc.). If you’re having difficulty getting started, feel free to play through the two fills from Example 2 and use them as a springboard for coming up with your own.

Additionally, the potential for derailing the groove can often be minimized by saving the fill for the latter half of the 4th bar (starting on beat 3 or the “and” of beat 3). The song tempo and overall arrangement will direct this: playing a full-bar fill at slower tempos might seem a little long to be departing from our part.

I highly encourage you to record yourself playing through this exercise and then listen back. Notwithstanding the fact that they’re recurring every 4 bars, do the fills sound like a natural part of the tune, or like a “Hey-Check-Me-Out” moment? We’ll be covering the topic of phrasing in The Art of Groove, Level 3. For now, experiment with dynamics, note duration, register, slurs/hammers and/or vibrato to try to make your fills as lyrical and musical as possible. If in doubt, always err on the side of keeping it simple.