Here’s an example of an early ‘70's funk approach. Notice the use of air (rests) in the line. It typically results in bass parts that are much more sparse than in the 16th note fingerstyle approach we explored in our last lesson.

Audio Example 1

Audio Example 1 (Drums)

 

Here’s another “Old Skool” approach to fingerstyle funk.

Audio Example 2

 
 

IDIOMS

RHYTHMIC:

The above examples incorporate subtle but definite shuffle feels. This feel, at moderate to slower tempos (between 80-90 bpm) is a staple of the funk vocabulary.

The time feel is usually well on the back of the beat, to convey the requisite attitude.
In this style of funk, it definitely is as much about what you’re NOT playing as it is what you are. The “funky-ness” of the funk is intensified when the line incorporates the right notes in the right places, and just the right amount of air to keep things sparse while not letting it fall apart.

You may have also noticed that the kick drum and bass line patterns in both examples were playing off of each other, as opposed to playing the same figure. It creates a nice tapestry of parts that is another funk idiom. Players should just ensure that the contrapuntal parts work well together.

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.