The empirical study of music (putting music “under the microscope”, so to speak) can prove highly illuminating and significantly enhance our ability to effectively function as musicians.

On the other hand, music that is produced solely based upon its empirical merits generally lacks any real or lasting impact upon the listener...because at the end of the day, music must communicate on an emotional level. How many times have we listened back to our favorite songs from years ago and discovered that there are glaring “mistakes” that we never noticed before...yet the tune still moves us in a profound way.

It’s interesting to note that there are empirical, quantifiable elements and considerations involved in producing music that communicates emotively. From the perspective of the bassist in a rhythm section, a big part of this is having an understanding and grasp of a broad range of musical feels.

Groove Subdivision

The subdivision of a groove (i.e., the predominant rhythmic division occurring between the downbeats) is fundamental to establishing the feel. If a groove is built around an overall eighth note subdivision, that will convey something distinct and different from a groove built around quarter notes, sixteenth notes, triplets, etc.

Let’s listen to some drum grooves that demonstrate different examples.

Our familiar drum groove from earlier lessons is a classic eighth note pop/rock groove...

Audio Example 1

Even with the kick drum hitting the “and” of 3 (which implies an eighth note “vibe”), this drum groove has a predominant quarter note pulse...

Audio Example 2

 

Here’s an R & B groove with a sixteenth note feel provided by the hi-hat.

Audio Example 3

 

Notice how the kick drum pattern is reflecting the sixteenth note subdivision, as well. A bass line played along with this drum groove would generally benefit from catching that hit (the sixteenth note immediately before beat 3) in addition to beats 1 and 3.

This 12/8 groove has a completely different feel. The subdivision is based upon eighth note triplets (three per quarter note). Playing a normal sixteenth note bass line (four per quarter note) over this drum groove could present a job hazard!

Audio Example 4

 

It should be mentioned that the feel of a groove is an organic thing, and is truly the product of the combined contributions from all members of the rhythm section. In other words, a drummer might lay down a groove with an eighth note feel, but a bass line can inject an overall sixteenth note feel if it incorporates those subdivisions to a significant extent. The important point is to be aware of the different subdivision feels, ensure that what we’re playing works in the context of the rest of the ensemble, and be comfortable conveying those different subdivision feels at a variety of tempos.

The following example demonstrates a number of basic subdivision feels as established between the bass and drums.

Audio Example 5

 

EXERCISE 1

Focused time working with a metronome or drum machine while playing grooves built around a broad range of subdivision feels will help develop a vocabulary and comfort level.

Using the preceding examples as a springboard, find a diverse range of drum groove feels on a drum machine and practice grooving along. Don’t bother working through chord changes for now; simply vamp on a static chord (A-7 is a personal favorite) and experiment with different subdivision feels. If the drum groove is an eighth note feel, you can start out by reinforcing that subdivision. After you’re comfortable, experiment with implying more of a quarter note feel, or sixteenth note feel, etc.