What should I practice? I learn songs, but I want to put my "stank" on them. I practice scales, modes, and arpeggios. I am ready to jump out of the box!
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I don't want to be a root player!
- Thread starter kingjames59
- Start date
If you don't want to be a root player, don't be. Cease playing root-note based bass lines. It's good to add flavor to an existing line, but unless the entire band is re-interpreting the song as a whole, your "stank" is potentially gonna stick out like a sore thumb.
It's a long way...
Practice scales and arpeggios with a metronome until your fingers hurt.
Listen to Jaco, Anthony Jackson, Marcus Miller, you know, the constellation...
Do both things for months to come.
When you're just sick of it, blend your new acquired technique to some of these guys lines. It's fine if you get 10% here, 5% there... Record your playing if you can. Listen over and over until you know what's missing. Try to fix that and repeat the process...
It sounds like you are ready to play with other musicians. Go find people you can jam with. There is more to playing than practicing solo.
That's OK, I'll play root notes and take the gigs... and the pay. 
But seriously... it's OK if you don't want to be the one holding down the bottom, but somebody in the band has to. I would recommend trying to connect with a keyboardist who's really tuned-in to bass and is willing and able to cover the "traditional" bass role with his/her left hand. I have heard some keyboardists do things with bass lines that I couldn't dream of (either in concept or execution), so I know those people are out there. That will free you up to explore other areas on bass. It's not the conventional way to build a band but if you find the right collaborators you might be able to come up with something pretty unique.
But seriously... it's OK if you don't want to be the one holding down the bottom, but somebody in the band has to. I would recommend trying to connect with a keyboardist who's really tuned-in to bass and is willing and able to cover the "traditional" bass role with his/her left hand. I have heard some keyboardists do things with bass lines that I couldn't dream of (either in concept or execution), so I know those people are out there. That will free you up to explore other areas on bass. It's not the conventional way to build a band but if you find the right collaborators you might be able to come up with something pretty unique.
It all depends on what style you are playing. If you play in a cover band that is trying to exactly replicate songs, then it's best to stick to the og bass part (even if it is root note based). If you are writing originals or trying to do different arrangements of cover songs, then by all means throw in some tasty passing tones and melodic figures to stank it up. Just be sure to serve the song and not get too "wanky", or "hey, look at me!", unless the people you are playing with want you to be the center of attention.
well, truly for most forms of music you're going to have to play roots predominantly. that's part of the role of your chosen instrument.
Here are some ideas for you to play around with...
start playing around with the arpeggios you're learning. play the root on the down beats and then add the other chord tones - octave, fifth, third, seventh
embellish the chord tones by briefly leaving them and then coming back. you can leave to go to another chord tone or to a neighbor tone (a scale tone a step above or below the chord tone). it's an embellishment so don't camp out on the other note - just a quick movement and then back to the chord tone. almost like a trill.
connect the chords in the song together using scale tones from your scale studies (focus on major, minor, and pentatonic scales and modes) or use other approach tones (these can even be chromatic if handled tastefully)
using the ideas above will create bass lines that are still be heavily chord tone based and supportive of the song's harmony but will provide some color to your lines.
the style of music you're playing and what the other players in the band are playing will determine how far you can go with this.
Here are some ideas for you to play around with...
start playing around with the arpeggios you're learning. play the root on the down beats and then add the other chord tones - octave, fifth, third, seventh
embellish the chord tones by briefly leaving them and then coming back. you can leave to go to another chord tone or to a neighbor tone (a scale tone a step above or below the chord tone). it's an embellishment so don't camp out on the other note - just a quick movement and then back to the chord tone. almost like a trill.
connect the chords in the song together using scale tones from your scale studies (focus on major, minor, and pentatonic scales and modes) or use other approach tones (these can even be chromatic if handled tastefully)
using the ideas above will create bass lines that are still be heavily chord tone based and supportive of the song's harmony but will provide some color to your lines.
the style of music you're playing and what the other players in the band are playing will determine how far you can go with this.
"Stank" comes more from the right hand than the left, IMO. You can know every mode and scale, but if you can't execute the note and the run with some interest, it won't matter. Things like right hand placement, muting (although left hand muting is extremely important as well), using your thumb (not just to slap), and just respecting the spaces around the notes are what really make thing "stanky"!!!
Listen to some old Bootsy Collins or other funk guys of the era. They aren't playing a ton of notes with scales and arpeggios. They are just choosing their note placement and inflection very carefully.
Here's an example of what I'm talking about.
Brick House by the Commodores. Not a lot of notes, but probably as much stank as you will find. Note placement, and right hand technique are key for this song
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Now take this example. No disrespect to this young fella. He has all the notes, but his right hand technique isn't allowing the song to really feel right.
YouTube - ‪Brick House - The Commodores - Bass Playalong‬‏
Brick House by the Commodores. Not a lot of notes, but probably as much stank as you will find. Note placement, and right hand technique are key for this song
Invalid Link Removed
Now take this example. No disrespect to this young fella. He has all the notes, but his right hand technique isn't allowing the song to really feel right.
YouTube - ‪Brick House - The Commodores - Bass Playalong‬‏
Learn the melodies of all the songs that you currently play.
Then learn to embelish the melodies.
Then learn to embelish the melodies.
I mostly play gospel with some funk and R&B. I love holding down the bottom but should I also have something to add?
The easy way out is to throw in some "rhythm" with your "notes." Instead of quarter notes throw in some eighth notes, upbeat syncopation, triplets...let your right hand breath too. You can also do a lot of octave work. Slide up and down to emphasize an upcoming chorus or middle eight. Simple tricks but effective.
Check this guy out on youtube. He has a lot of great lessons.
YouTube - ‪MarloweDK's Channel‬‏
YouTube - ‪MarloweDK's Channel‬‏
I personally love playing the octave notes, and power chords on the bass. I have actually taken a couple of songs and split them over the octave, one of which instead of being "root root root root root root" i've changed to simply be a power chord, each notes picked individually, like an acoustic guitar 
Experiment!
Experiment!
