Congratulations on successfully making it to this point in our groove studies here in The Art of Groove, Level 2! I hope the material we’ve covered has been helpful and illuminating in your ongoing musical growth and development as a groove-oriented bassist.

Let’s evaluate our progress! Work through the proceeding (answers below):

1. Listen to the following drum groove. Identify the overall groove subdivision feel, as well as the specific beat placement of each instrument within the drum kit.

Audio Example 1

 

2. In the following groove, the first four bars have a very different feel compared to the second four bars. What specifically is responsible for the distinction between the two (in terms of rhythmic subdivision/feel)?

Audio Example 2

 

3. Is the groove in the preceding example a shuffle or straight feel?

4. What are the meat & potatoes groove intervals for vamping on an A7 chord?

5. In the following example, what is the beat placement of the bass pops that occur in bars 1 and 5?

Audio Example 3

 

6. What is an effective rhythmic approach to give a groove excitement or urgency?

7. The bass line to Michael Jackson’s Billie Jean is a good example of __________ .

8. True or False: 
“Constant rhythmic variation is one of the keys to effective grooving.”

9. What’s the difference between “laying back” and “dragging”?

10. What’s the difference between a drummer and a certificate of deposit?



Answers

1. The overall subdivision feel is based on eighth notes. The hi-hat is playing eighth notes, while the snare is hitting beats 2 and 4. The kick drum is hitting beats 1 and the “and” of beats 3 and 4 in the first bar, then beat 1 and the “and” of beat 3 in the second bar.

 

2. The drum groove in the first bars is based around a 16th note subdivision (with lots of ghost notes on the snare), then simplifies to an 8th note feel in the second four bars. The bass line, which is fundamentally built around an 8th note subdivision (with a few embellishments and ghost notes implying a 16th note feel), remains constant.

This example clearly demonstrates how simpler often means better: the latter four bars seem to groove much harder.

3. Straight.

4. The root, 5th and b7th.

5. The pops occur on the 16th note immediately after beat 2 (the “ee” of beat 2).

6. Play it slightly “on top”.

7. An ostinato

8. False. Constant rhythmic variation generally doesn’t establish a solid foundation, doesn’t give the listener something to grasp, and doesn’t give the drummer a recurring rhythmic figure with which to play). Playing parts and gradually incorporating variations as the song progresses is a key to effective grooving.

9. The tempo is unaffected when “laying back”, but slows down (in a groovicidal manner!) when “dragging”.

10. The certificate of deposit will eventually mature and make money.


I’ve had a blast working with you through The Art of Groove, Level 2!

I’d like to emphasize that we’ve covered a lot of information, and my wholehearted encouragement is for you to incorporate the exercises and concepts from this course into your regular practice time well beyond your completion of these 20 daily lessons.

The material from this course is of limited value for your long-term musical development if it is only visited once, then relegated to the distant archives of your mind. Please spend time regularly re-immersing yourself in it so that it is fully assimilated.

God bless you & your continued musical growth!


CREDITS

I'm elated to have close friends who also just so happen to be world-class talents. Huge thanks to the following people whose contributions benefited this course enormously. 

Live drums for the audio examples were performed by Frank Reina and David Owens. For further info or to contact either of these amazing musicians for drum contributions to your own projects, please visit them online. 

Frank Reina

David Owens

Mixing and mastering of the majority of the audio clips was provided by Rod Lincoln (himself a fantastic drummer - hear him on "The Race" from my Pondering the Sushi CD). Contact Rod at rlincoln@kc.rr.com.

Norm Stockton enthusiastically uses and endorses instruments and products from the following: