This example demonstrates the slap approach to the funk style as employed so effectively by players like Marcus Miller.

Audio Example 1

Audio Example 1 (Drums)

 

For those of you who are interested in further study of the slap technique itself, there are a number of solid resources available (including Volumes 2 & 4 of my Grooving for Heaven instructional DVD’s).

IDIOMS

RHYTHMIC:

This particular example incorporated a straight feel (16th notes weren’t shuffled). Slap funk grooves can commonly be heard in either shuffle or straight feels. It’s important to have both feels well assimilated in your vocabulary, and be able to phrase the bass line appropriately (e.g., be able to shuffle when the groove is shuffling and play it straight when it’s not).

The time feel in this funk approach can vary. Typically, at slower tempos, the groove is phrased on the back, while at moderate to faster tempos, phrasing tends to be right down the middle.

In 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.

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:

The classic Marcus-esque tone is an incredibly hip, full-spectrum sound that has created legions of fans around the world for its punch, presence and clarity. It’s basically the result of fresh roundwound strings, frets, and an amp or PA system that has adequate frequency response and headroom (and, of course, Marcus Miller’s impeccable technique...which is arguably the primary factor in achieving the tone!). This timbre can occupy a lot of sonic space, which works well if the bass is a “featured” instrument in the particular musical setting. If there is a downside, it’s that it can sometimes border on being a bit too “in your face” when going for a slightly more subtle statement.

Personal preference will dictate whether to go with more of a retro slap tone or a modern hi-fi tone. The retro tone is generally not quite as bright and involves a bit more upper midrange than highs. The modern hi-fi tone is usually heavy (but not boomy) on the bottom end, somewhat scooped (cut) in the mids, and has prominent highs to bring out the brilliant top end of round wound strings.

GENERAL:

Funk is music with attitude. If a bass groove sounds corny, it’s most likely not very authentic, in the funk sense! Listen to and emulate the rhythmic placement and phrasing (slurs, hammers, vibrato, etc.) of master funk slappers like Marcus Miller, Victor Wooten, etc.

Marcus has been quoted as saying that “the funk is in the thumb”, emphasizing that the groove is dependent upon the thumb keeping the low end solid and rhythmic foundation/syncopation firmly established. Many less experienced players sacrifice the groove by incorporating too many pops and not enough slaps, which compromises their effectiveness as bass players in a rhythm section. The pops should be the occasional accents on top of the valley-like groove established by the thumb.

Notice, once again, the use of parts. This example clearly incorporates repetition of a basic motif (bar 1 and every other proceeding bar), with occasional variations.