Need Help with Fills

[Whousedtoplay]

Sorry but I've no idea what that means. It sounds like the latest entry in the ever-growing lexicon of non-musical jargon, buzz-words and concepts* that are dominating the world of electric bass in the 21st century. That, or I'm a dinosaur...

* that I've no doubt could just as effectively be encapsulated using existing musical language - just looks like 'resolution' to me.

Here is a short explanation from the bass player/book author who (probably) invented that term.

"The third part of a great groove is the groove tail. It’s the most fun part, the sign-off, the least structured part, the freedom-loving revolutionary of the Three Groove-sketeers. It’s what you play at the end of your groove; it’s your signature lick, a sign-off for the preceding phrase, and a lead-in for the next phrase. It’s an opportunity for you to put a bit of a flourish into your groove (think John Hancock’s signature) and a place to prep the other band members for the next downbeat, making sure everyone is on the same page and in sync.

When you play the groove tail, you don’t necessarily have to adhere to the groove’s harmonic structure, as you do with the groove skeleton and groove apex (see the two previous issues of Bass Magazine). And you can vary your rhythm each time — you don’t need to keep it consistent. The only thing you must keep in mind is to be in time for the next downbeat! That’s it. Naturally, I just happen to have some great exercises to help you get used to creating a beautiful groove tail and nailing the downbeat on time."

Beginner Bass Base – Building Blocks Of A Groove: The Groove Tail (Part 3 of 4) — Patrick Pfeiffer Bass

Here is his article about the groove skeleton, and groove apex.

"...the four essential building blocks of a great bass groove and how to practice each one so you can be the groovemaster you were meant to be. The four elements are:

• Groove skeleton

• Groove apex

• Groove tail

• Harmonic contour
The groove skeleton usually gives you the tonal center (most of the time it’s the root of the chord), the tempo, and also the style (through the use of rhythmic subdivisions — for instance, 16th- notes are usually funkier than eighth-notes)..."

Beginner Bass Base: Building Blocks Of A Groove - The Groove Skeleton (Part 1 Of 4) — Patrick Pfeiffer Bass

 

[Whousedtoplay]

Let's take a look at Lee's transcription of "Cybernet Situation."

https://www.talkbass.com/threads/cybernet-situation.1457277/





Here is that groove "tail."

 

[Whousedtoplay]

Let's continue.

What is Groove Apex?
From the same author, Patrick Pfeiffer.

Beginner Bass Base: Building Blocks of a Groove (Part 2 of 4) — Patrick Pfeiffer Bass

"...If the groove skeleton is responsible for giving a groove its genre-defining outline, then the groove apex is responsible for giving it its character, or attitude. The groove apex is subjective, meaning that you may hear a note as the essential groove apex, while I may hear the same note as not quite important enough to qualify as such; that’s okay.

Generally speaking, a groove apex is the note, or notes, that stick out and help you define a groove when you hear it again — the part that you would give special emphasis to if you were singing the groove to someone. It’s often the note that is the largest interval from the root of the groove, like an octave or a 7th. A good exercise for mastering the groove apex is to subdivide a measure into 16 16th-notes, play an octave on the first 16th-note and move it to each subsequent 16th-note in the following measures. Group four 16th-notes at a time in your head to keep track of the beat. Check out Ex. 1 and give it a go..."

 

[SteveCS]

Here is a short explanation from the bass player/book author who (probably) invented that term.

"The third part of a great groove is the groove tail. It’s the most fun part, the sign-off, the least structured part, the freedom-loving revolutionary of the Three Groove-sketeers. It’s what you play at the end of your groove; it’s your signature lick, a sign-off for the preceding phrase, and a lead-in for the next phrase. It’s an opportunity for you to put a bit of a flourish into your groove (think John Hancock’s signature) and a place to prep the other band members for the next downbeat, making sure everyone is on the same page and in sync.

When you play the groove tail, you don’t necessarily have to adhere to the groove’s harmonic structure, as you do with the groove skeleton and groove apex (see the two previous issues of Bass Magazine). And you can vary your rhythm each time — you don’t need to keep it consistent. The only thing you must keep in mind is to be in time for the next downbeat! That’s it. Naturally, I just happen to have some great exercises to help you get used to creating a beautiful groove tail and nailing the downbeat on time."

Beginner Bass Base – Building Blocks Of A Groove: The Groove Tail (Part 3 of 4) — Patrick Pfeiffer Bass

Here is his article about the groove skeleton, and groove apex.

"...the four essential building blocks of a great bass groove and how to practice each one so you can be the groovemaster you were meant to be. The four elements are:

• Groove skeleton

• Groove apex

• Groove tail

• Harmonic contour
The groove skeleton usually gives you the tonal center (most of the time it’s the root of the chord), the tempo, and also the style (through the use of rhythmic subdivisions — for instance, 16th- notes are usually funkier than eighth-notes)..."

Beginner Bass Base: Building Blocks Of A Groove - The Groove Skeleton (Part 1 Of 4) — Patrick Pfeiffer Bass

I read that earlier and my opinion, for what it's worth, isn't swayed. The concepts needed to describe composition of a bass line - harmony, rhythm, melody and resolution - already exist without the creation of more jargon. YMMV.

 

[Whousedtoplay]

he concepts needed to describe composition of a bass line - harmony, rhythm, melody and resolution - already exist without the creation of more jargon.

OK.
I like it as a concept of the bass rhythmic-harmonic template.

 

[Whousedtoplay]

Let's take a look at the bass-line from Chris Stapleton's song, "Think I'm in Love with you," performed with Dua Lipa.



The bass-line got my attention due to its "activity."
It's only my personal opinion, but the bass-line "samo-samo" embellishments/fill-ins/groove tails were too many, too repetitive, too "heavy" for that style, that song.