Dondald "Duck" Dunn's technique

[manutabora]

Hey Guys and Gals,
The director of my university's pep band has been telling me that I should emphasize the first beat of each measure more aggresively. Although I don't like how I sound when I do as he says, I do it anyway because I trust his taste (he's been a pro drummer for some 30 years, I'm guessing, and I'm just an amateur).
He always mentions Duck Dunn when he talks about this. He's told me to listen to his basslines and how he almost seems to drag the first beat of each measure. I have been listening to some Booker T and the MG's stuff, but I can't hear what he's talking about. So I was wondering if you guys could point me to one or more specific songs that would be good examples of this. Also, any more advise on this subject will be greatly appreciated!
Thanks guys!

Manuel

 

[deaf pea]

Green Onions has this throughout the song. I guess its really a matter of feel. Try and play the song lots and you'll get it.

But THAT was Lewis Steinberg, NOT Duck . . .

But also, wait for the "1" . . . by that I mean, wait til you actually HEAR the kick (or snare) to play your bass note . . . that's the essence of "laying back" . . .

 

[JD1014]

Y'know, ya might go over to www.BassBooks.com and check out a book called WHAT DUCK DONE; according to the blurb, this book breaks down Duck's technique.

 

[manutabora]

Hmm, waiting for the one... that's interesting. I'll try that out at tonight's games (we have a ladies' and a men's games).
I'll also check out the book, I'm guessing it will be very informative.
Thanks guys!

 

[Hamrhed]

another thing that helps Duck play behind the beat is his technique: Donald tends to shift his hand position a lot, rather than sticking to scales per se. He also tends to move his left-hand fingers away from the fretboard as he plays (as opposed to the tendency most players have of keeping fingers on the left hand close to the board). Imo, both of these tendencies that Duck employs not only make his style unique, but add to his ability to play around the beat

 

[DeanT]

If you can find a DVD of "Stax/Volt Revue: Live in Norway 1967" or it's on TV, watch it. Duck is featured prominently and you can really get an idea of his style with people like Booker T, Otis Redding, Sam and Dave.

 

[Ezbass]

I always think DD is underated because of Jamerson. A more basic style for sure, just as important as JJ just in a different genre.

With regard to emphasising the one, listen to James Brown (especially the early stuff) where it's all about "on the one".

 

[Doc Halo]

If you can find a DVD of "Stax/Volt Revue: Live in Norway 1967" or it's on TV, watch it. Duck is featured prominently and you can really get an idea of his style with people like Booker T, Otis Redding, Sam and Dave.

+1000. The whole show is amazing, but the first ten minutes or so, when Booker T. and the MGs open with "Red Beans and Rice" and "Green Onions," are particularly useful. The camera spends a good bit of time focusing on Dunn's hands as he plays.

 

[rllefebv]

In an old Bass Player interview, Duck said that some of the best advice he ever received was when Al Jackson Jr. told him to "Wait on the two..."

-robert

 

[lonote]

Green Onions has this throughout the song. I guess its really a matter of feel. Try and play the song lots and you'll get it.

Leigh Steinberg played bass on Green Onions.

 

[manutabora]

So waiting on the one, and then waiting on the two... Why don't we just wait for the three and four as well?
Just kidding, what you guys are saying makes a lot of sense. I appreciate all the advise.

 

[Matthijs]

How about this advice I once got: Think about dancing fat assed women and adjust your timing on the pulse according to their somewhat delayed movement to the music.

 

[barroso]

Y'know, ya might go over to www.BassBooks.com and check out a book called WHAT DUCK DONE; according to the blurb, this book breaks down Duck's technique.

I second the advice. Great book on one of the greatest bass player.

 

[Hamrhed]

How about this advice I once got: Think about dancing fat assed women and adjust your timing on the pulse according to their somewhat delayed movement to the music.

Thats a Jamerson technique

 

[()smoke()]

Thats a Jamerson technique

and a fine one at that

 

[Sub5ound]

Melting Pot by Booker T. And The MG'S

 

[PilbaraBass]

Sitting behind the "1" fattens and emphasizes the bar...by doing so, "the pocket" is established.

In fact, if done correctly, you can play just about anything in the pocket rhythmically and it will still flow...

 

[Pablo Fanque]

I'm trying to play Green Onions.

I've seen about 12 different tabs versions online but they don't sound right. I kinda pieced this together.

A----------------------1-4-6---repeat------3-6-8--1-4-6
E----1-4-6---repeat----------------------------------------1-4-6

Sound about right?

What I'm not sure about his how much up and down the fretboard this is. Seems like it moves the hands too much. But it sound cool cuz it has some slide in it.

 

[Jazzdogg]

It might help you to mentally subdivide a measure of 4/4 time into twelve pulses of three, i.e., 12/8 time or quarter-note triplets.

For the purposes of this exercie, think of the first beat of the triplet as rushing, the second as playing on the beat, and the third as playing behind the beat; it's both an exageration and an oversimplification, but it's a starting point.

Practice emphasizing a different beat in each triplet with a metronome:

||:1 2 3 4 5 6 7 8 9 10 11 12 :||

 

[Hoover]

Years ago I met a trumpet player who claimed "this whole thing about bassists or drummer's 'playing behind on the 1' is a crock of ****! You can play behind on the 2 or the 4, but if you're late on the 1 you're just late."

I'm not sure if I ever believed him entirely, but I always remembered that quote.