Double Bass How do You Rein 'em In?

[turf3]

Well, I typed a response but it got ate.

The story Oscar Peterson tells is about Benny Carter, who knew pretty much every tune:

So you work through a tune and when you're done, he looks at you and says "So, you're planning to play it that way, there?" Whereupon the correct response is "How should it go" and he'll answer "well, I've always known it to go something like this" then playing the exact correct chords and melody in perfect time.

 

[turf3]

Of the different types of bad time in jams, here are the ones I've experienced the most:

1) The (usually banjo) player who starts the tune with an instrumental introduction, but he can't really quite play it, so he plays it one.note.at.a.time and there's no hint of what the actual tempo will be. It usually takes the first stanza of full-ensemble playing for a tempo to be established. This is distinct from the "aimless strumming with no information" I describe below, because it does actually turn into a tune with rhythm, harmony and melody; it's just the guy doesn't know how to get it rolling with his intro. If I know the player well, I'll yell "Fewer Notes! More Quickly!"

2) The soloist who practiced the note-for-note solo at home so long that he can only play it that way - either too fast, or too slow - or sometimes, both. In that case I try to make LOUD short notes exactly in time to keep the rest of the group on track. If the soloist takes too long to finish, he'll still be squeezing out those last few notes while the singer rips into the next verse, or if he rushes through it too fast, there'll just be a little pause. Worst thing to happen is when the group splits, half trying to follow the soloist and half trying to keep on track. If the soloist gets too far away from the changes I may just play root-root-root-root just so everyone can HEAR where the changes really are.

3) The guy who says he's going to lead the tune, but he doesn't know it, can't play in time, doesn't know when the chords occur, there's just some aimless strumming. I'll try to drop bass notes in to see if the band can pick this thing up and make it a going concern, but after a couple tries I just lean on the bass and wait for it to be over. It's usually over pretty soon, mercifully.

4) The whole group gets revved up and speeds up through the length of an exciting tune. This is one where you're not going to hold 'em back, you've just got to hang on.

Someone up above pointed out that the average amateur bassist is probably spending orders of magnitude more practice time with a metronome than any other bluegrass instrumentalist, and I'd say from what I've seen that it's probably true. I have trouble understanding how, after 70 years of the predominant popular music all over the world being rock and roll with its powerful explicitly defined beat, people claiming to be musicians still can't hear where the beat is, but it's so.

 

[Jason Sypher]

It happens all the time with every level of player. I hate to have to babysit the beat but sometimes that’s all you can do. I would first step into the ensemble a bit more and try to reclaim time. I do this by annunciating my notes, particularly on the one, sometimes adding a little click to the note by pulling it as in a slap technique. If that doesn’t work I might add a subtle backbeat slap to kind of outline my sense of the time. If that doesn’t work and no one is listening or able to adjust I might, might, try to create a new tempo where they are at. This is something I hate to do but I’ll do it as a last resort. I might mention to the rest of the rhythm section to try to stay with me through the solos, casually, with as little vibe as I can muster. I don’t want people to get in their heads, just to pay attention. If all else fails I’ll just mind the beat and try to be as simple and clear as possible, make eye contact, visible demonstrate MY beat by moving a bit, rocking or whatever. I’m not a stomper though I know a lot of people who resort to stomping their feet on stage. I think that looks stupid and usually flusters a band. In downtimes or sound check I might take individual players aside and say “hey can we play this together I want to make sure I’m fully locked with you”. Sometimes that’s all it takes, a little cooperative check-in.

 

[Bruce Calin]

I played in a big band where the band would slow down and the leader would get on the rhythm section for not keeping the tempo up. The drummer finally threw a drumstick at the leader and said something to the effect of "Listen to what we're playing!"

 

[Bruce Calin]

The conductor of the community orchestra I play in explains the "push and pull" of classical music rhythm as a concept of relaxing the strict tempo in some places and moving ahead or "taking back" in others, depending on the flow of the phrasing. It is a helpful idea to feel the overall sense of pulse and not be confused by small variations in the actual tempo. For an old jazzer such as myself, it helps me to not be stressed about the lack of steadiness from measure to measure but to feel consistency in the overall line. This concept can also help me to be more flexible in any musical situation where the time might be dubious. Trying to force the issue is almost always unsuccessful in my experience.

 

[Wasnex]

Although it may not be practical, IMHO the best course of action is to find musicians who listen and have the ability to play in time. Other than that, just go with it and try not to get to upset, because if the speeding up is their tendency, there is probably not much you can do to hold them back.

 

[AGCurry]

... the best course of action is to find musicians who listen and have the ability to play in time.

Well, yeah.

 

[LEUllman]

I am not a metronome and I don’t play one on TV. Keeping the tempo is a group responsibility, achieved (or not) by listening. Dragging the beat to reign in a rushing ensemble is miserable and rarely works—it can be risky, too, because it can result in the song falling apart, and you will get the blame. Finally, the offbeat controls the tempo much more effectively than we can from the bass.

 

[elberon]

Bass should be able to enforce tempo better than about any other instrument in an ensemble, especially one without a percussionist. Very simply, refuse to speed up with them. You can exert your will on the tempo and hopefully they’ll hear it and come to you.

When you too constantly give in and rush it’ll only encourage them to keep doing it. If songs start to fall apart politely let them know why (they’re rushing), if they can’t adapt then find another group unless you’re willing to put up with it.