This example demonstrates the staccato, fingerstyle 16th-note approach to the funk style that is exemplified by Francis Rocco Prestia’s work with Tower of Power.

Audio Example 1

Audio Example 1 (Drums)

 

Here’s another example, demonstrating a different drum approach. The bass line incorporates a slightly looser approach to the staccato phrasing and includes a few more passing tones idiomatic of the funk genre.

Audio Example 2

 

Audio Example 2 (Drums)

 
 

IDIOMS

RHYTHMIC:

The 16th note pulse that’s created using a combination of ghost notes & voiced notes is definitely an idiom of this approach to funk. Bassists will commonly pick & choose (spontaneously) where they’re going to play actual pitched notes, while much of the rest of the line is filled with ghosted 16th- or 8th-notes.

The rhythmic feel is commonly either right down the middle (spot on) or slightly on top of the beat to drive the groove along.

HARMONIC:

Funk will typically involve the use of certain passing (or chromatic approach) tones and target notes. The phrasing of these passing tones varies; in a strictly Tower-of-Power-esque, staccato 16th-note setting, they would tend to be voiced individually, while in slightly looser contexts, they would commonly be incorporated into the bass line using slurs or hammers.

Common examples of funk passing tones include:

b7 to octave
6 to b7
b3rd to major 3rd
#5 to 6
#4 to 5
b5 to 4

Chord tones in a funk groove can generally be approached from a half-step above (usually phrased as a slur) to good effect. This use of chromatic approach is commonly found in jazz and blues settings, as well. It helps provide the tension and resolution that is essential for the attitude and emotional statement of the genre.

In funk, it’s also common to find dominant 7th chords with raised 9th’s, which can give the harmony that “halfway-between-major-and-minor” feel (as a #9 is a minor 3rd in the higher octave). That is another reason that the b3rd-to-major 3rd slur works so well in this setting.

SONIC:

Tonally, it’s truly a matter of preference; some bassists might elect to go for an upper midrange-heavy Jazz-bass tone, while others might gravitate toward a warmer, P-bass thud. My personal taste leans more toward the latter (but with a bit of upper mids for clarity), which gives the bass the requisite punch and presence in the mix (essential for really propelling the band). It also retains solid bottom end while keeping safely below the range of the other instruments (helpful for avoiding an excessively cluttered arrangement).

GENERAL:

Funk is music with attitude. If a bass groove sounds corny, it’s most likely not very authentic, in the funk sense!

The thematic approach employed in these fingerstyle funk examples is actually another idiom of this type of funk. Repetition is utilized to establish the motif, then variations are incorporated as the tune progresses. Many of the classic fingerstyle funk lines are characterized by a syncopated, staccato, repetitive bass line with occasional variations.