Groove Course: Level 1

The term groove has been defined in a myriad of different ways by musicians over the years, spanning the gamut from clinical (“metronomic consistency of rhythm - the result of executing the ‘100% Quantize’ function on a sequencer”) to sensory (“the element of music that makes one want to shake their posterior to the beat”) to esoteric (“...awww, man....it can’t be EXPLAINED - ya just KNOW it when ya HEAR it...”).

There are elements of the above definitions that might have some degree of truth, but defining groove can really be a bit elusive:

grooving involves consistency of rhythm, but is quite frequently not metronomically precise...

grooving can sometimes give the listener the sensation that it would be physically IMPOSSIBLE to sit still, but there are times when playing in a groove-oriented manner might call for playing whole notes...

and there IS a certain element of “it’s-impossible-to-explain-so-lemme-play-it-instead”, but I personally don’t think the groove precludes all analysis or thoughtful observation & study.

I’d like to add my own personal definition for your consideration. I define it as:

"A rhythmic feeling of consistent, reliable & predictable forward motion in the music."

Why is groove such an important consideration for the bassist? Simply put, the bass guitar is a rhythm section instrument fundamentally, and its primary function (together with the drum kit) is to create a solid rhythmic foundation for the other instruments, specifically, and for the music in general. In a nutshell, it’s the bassist’s job to groove. The bass and drums fundamentally establish the groove, and are essential to creating that feeling of consistent and reliable forward motion anytime they’re playing. In many instances, that involves the bassist and drummer working so synchronously that it’s almost difficult for the listener to discern where one leaves off and the other begins.

It is for that purpose that other musicians want us on the gig or session. That is truly what makes the phone ring. Notice that I didn’t say that the exclusive function of the bassist is rhythmic; on the contrary, it’s obviously a fantastic voice for melodic and harmonic elements as well...but the groove must always be the first consideration.

This lesson is the first of a series designed to systematically develop the bassist’s ability to effectively function in a typical ensemble. It will provide a basic foundation of technique, essential theory, fingerboard familiarity and ear training, as well as developing a vocabulary of grooves & styles.

EXAMPLE 1

By the completion of the 60-Lesson Groove Course, you should be able to come up with a number of functional bass lines to play over the same drum groove, each being valid depending upon the musical context.