Note duration in slow blues

[Geepers]

To my mind bassist Keith Christopher gets it spot on here. He gives 95% of the notes their full value (making the line beautifully smooth) and only very sparingly uses short “skip” notes (thereby making them all the more effective when they do come). Really liking KC’s work the more I explore it. A master of giving the song exactly what it needs and no more.

 

[2saddleslab]

That's why it's better to have more sustain & not need it than need it & not have it.

 

[31HZ]

To my mind bassist Keith Christopher gets it spot on here. He gives 95% of the notes their full value (making the line beautifully smooth) and only very sparingly uses short “skip” notes (thereby making them all the more effective when they do come). Really liking KC’s work the more I explore it. A master of giving the song exactly what it needs and no more.

The placement of such "skip notes" is probably what I think about most when I'm playing a song that calls for a deep groove and complete lock with the drums.

I describe it as "exploring the space at the edges of the spaces" or something like that because it's all about pushing the starts and stops of the rests around.

When playing such lines, neither legato nor staccato should be a default; rather, the placement and duration of each note has to be considered.

Source: I close my eyes and go deep into this when playing

 

[pepj]

Good track. But there is more than one way to get that type of feel across.
If the band were going for more dynamics and expression, you'd change note lenght but that is just how we grow and develop as players and you get called because you have that in your locker.

 

[brianrost]

Drummer Earl Palmer when asked once about what he expected from bassists said “All quarter notes are not the same length”.

For me, full note length unless it’s a funky tune.

 

[Whousedtoplay]

I'm glad that my TB members were able to immediately understand that phrase, "He gives 95% of the notes their full value."

The notes' full value - are we at some "stock exchange?"

Another thing, as "pepj" has mentioned, one could change the note's length, and YES, it changes the groove, that bluesy "buoyancy."
Usually in blues, I tend to silence my bass note right before the drum's snare hit.

 

[ole Jason]

Notice how his note length is locked in with what the organ is doing

 

[LowendG]

When playing such lines, neither legato nor staccato should be a default; rather, the placement and duration of each note has to be considered.

Source: I close my eyes and go deep into this when playing

While I'm not playing much blues, this same thinking is heavily in play with reggae. Might sound simple to the casual listener, but is far from it in regards to these kinds of nuance and detail.

 

[J-Bass RMR]

Keith Christopher

Keith is one of my favorites!!

this same thinking is heavily in play with reggae.

Give a listen to Keith's playing on Ayo's Joyful album.

And I'm guessing, in many instances, he just showed up and played!

 

[Thunderthumbs73]

To my mind bassist Keith Christopher gets it spot on here. He gives 95% of the notes their full value (making the line beautifully smooth) and only very sparingly uses short “skip” notes (thereby making them all the more effective when they do come). Really liking KC’s work the more I explore it. A master of giving the song exactly what it needs and no more.

What I play in terms of articulation and "skip" notes and note length depends on many factors, including:
-Room dynamics
-Drummer busy-ness
-Song tempo
-Song type (swing versus ballad versus...)
-Bass and amp I'm using
-Whether I need to drag or push
-Am I emulating an upright or flatwound bass
-Am I playing an upright or flatwound bass

 

[HolmeBass]

While I'm not playing much blues, this same thinking is heavily in play with reggae. Might sound simple to the casual listener, but is far from it in regards to these kinds of nuance and detail.

I find it’s even more important in reggae, although it’s very important in every genre. A huge part of getting the right sound in reggae.

 

[LowendG]

I find it’s even more important in reggae, although it’s very important in every genre. A huge part of getting the right sound in reggae.

True, even when clanking away on some rock tune, note duration, space, etc is totally key (though unfortunately in so much modern rock and pop it seems all we get are root notes all strung together, no space...ugh). In reggae the bass is like singing, it's the other melody aside from the vocals, so it really stands out there.

 

[31HZ]

I'm glad that my TB members were able to immediately understand that phrase, "He gives 95% of the notes their full value."

The notes' full value - are we at some "stock exchange?"

Another thing, as "pepj" has mentioned, one could change the note's length, and YES, it changes the groove, that bluesy "buoyancy."
Usually in blues, I tend to silence my bass note right before the drum's snare hit.

I usually do that on the 2, and much less often on the 4.

Subject to the song and the drummer. Void where prohibited. Must be 18 years of age. Do not operate heavy machinery.

 

[bassfran]

What I play in terms of articulation and "skip" notes and note length depends on many factors, including:
-Room dynamics
-Drummer busy-ness
-Song tempo
-Song type (swing versus ballad versus...)
-Bass and amp I'm using
-Whether I need to drag or push
-Am I emulating an upright or flatwound bass
-Am I playing an upright or flatwound bass

3-4 different drummers cycle in and out of the gigs in my current band and we never rehearse. I have to shift my playing to them and their varied approaches on any given tune each night. I'm sure I'm the only one who notices and I am finding I love the challenge of it to make the music work.

Oh, and we don't play jazz, either.

 

[micguy]

Timing is only important if you're a musician AND want to be good at what you do.

If you had your choice of a bassist with impeccable timing and a guitarist with OK timing, or the opposite, sure, you'd go with the better bassist, but in bands that really cook (regardless of genre) everyone has really good timing

 

[micguy]

3-4 different drummers cycle in and out of the gigs in my current band and we never rehearse. I have to shift my playing to them and their varied approaches on any given tune each night. I'm sure I'm the only one who notices and I am finding I love the challenge of it to make the music work.

I regularly play with a lot of different drummers (a couple dozen over the last couple of years), and yes, everyone of them makes the music feel different, and changes what you have to do to make the band sound good. Music is a team sport, and changing who's on your team changes everything on some level. That's part of the challenge, and a big part of why gigs can be fun.

 

[InnerCityBass]

I came to think of this video I saw many years ago. I'm glad I don't see anyone in this thread making the same statement as the guy in the video, cause I remember my thought from back then "Oh my g.. what as a misinformed chump, and now every new bass player on the block will think blues bass is supposed to follow those lame rules.. ffs!" - here's the video

 

[Whousedtoplay]

I usually do that on the 2, and much less often on the 4.

Consistency is important even in Blues Music.

My question to the OP was slightly different.

I still don't understand that term, "the notes' full value."

Bass notes in blues are different!

Let's take No Good · B.B. King.
Bass - Jerry Jemmott



And here is the bass transcription.

Paul's Bass Transcriptions

paulsbasstranscriptions.godaddysites.com

 

[ToddB1963]

To my mind bassist Keith Christopher gets it spot on here.

I agree. Good player.