Time limitations only allow us to scratch the surface of what I consider to be some of the world’s most amazing music. I wholeheartedly encourage you to pursue further study of African styles.

Here’s one approach to the West African genre.

Audio Example 1

Audio Example 1 (Drums)

 

Another groove with a Mali flavor could sound like this...

Audio Example 2

 

Audio Example 2 (Drums)

 
 

Here’s a South African-esque groove in the style of Bakithi Kumalo’s fantastic part on Paul Simon’s You Can Call Me Al (from the Graceland CD).

Audio Example 3

 
 

IDIOMS

RHYTHMIC:

Perhaps the most significant of the idioms we’ll explore from the music of Africa are rhythmic. One could literally spend their entire life studying African rhythms.

A very common West African rhythmic idiom is the “6 over 4" feel exemplified by Example 1. You’ll notice that the drums are reinforcing both a 4/4 feel (kick drum) and a 6/8 feel (maracas). In traditional West African music, it’s common to hear a variety of diverse percussion instruments reinforcing other sub-rhythms over this feel. Notice the distinct absence of pop music backbeat on beats 2 and 4...yet the groove is propelled nicely by the interplay between 4/4 and 6/8 rhythms. Grooves in this style will become natural with consistent practice and immersion.

The rhythmic aspect of our South African groove example illustrates a tapestry of parts. Notice how the bass line virtually weaves around the horn line. In addition, notice the beat placement and where the rests occur. It’s a definite departure from Western music for the bass line to play on beat 2 and the “and” of beat 2, then rest on beat 3. I dig the freshness and unexpected space it injects into the arrangement.

The time feel varies, but seems to most commonly range from spot on to slightly on top.

HARMONIC:

The harmony of African music ranges from diatonic “Western” harmony to that which incorporates much more tension (particularly with the Arabic-flavored harmony incorporated in various regions of Africa). The typical harmony encountered in West and South African music leans toward the former, though.

SONIC:

A warm fingerstyle tone will serve these genres well, preferably with a bit of midrange presence to allow pitch clarity and retain an organic feel. Roundwound strings sound best when they’ve been played a bit to wear off excessive brightness.

GENERAL:

Lay into the notes: experienced bassists in these genres move air and deliver their parts with an authority and drive that tangibly propels the ensemble.

Some incredible West African music has been produced in the context of conventional Western ensemble instrumentation (drums, bass, guitar, keys). If you haven’t already, definitely check out the work of players like Guy Nsangue and Etienne Mbappe (in addition to bassists more well-known in the U.S., such as Richard Bona and Armand Sabal-Lecco).