Playing the holes. Do many do this?

[sedan_dad]

I looked through the posts in “technique” forum and didn’t see anything on playing the holes. Where you intentionally leave out notes to make the drums pop more. Like not playing on the one and letting the snare hit by itself. Makes that snare really pop. I do this here and there in effort to make song more groovy. I see a lot of posts on wanting to play faster and more notes but nothing on less notes. On some songs and the blues the bass part can be a bit boring but playing the right holes can make it more challenging.

 

[SteveCS]

I looked through the posts in “technique” forum and didn’t see anything on playing the holes. Where you intentionally leave out notes to make the drums pop more. Like not playing on the one and letting the snare hit by itself. Makes that snare really pop. I do this here and there in effort to make song more groovy. I see a lot of posts on wanting to play faster and more notes but nothing on less notes. On some songs and the blues the bass part can be a bit boring but playing the right holes can make it more challenging.

If you search on "playing the rests" you might find more satisfactory results.

 

[Thundertips]

I looked through the posts in “technique” forum and didn’t see anything on playing the holes. Where you intentionally leave out notes to make the drums pop more. Like not playing on the one and letting the snare hit by itself. Makes that snare really pop. I do this here and there in effort to make song more groovy. I see a lot of posts on wanting to play faster and more notes but nothing on less notes. On some songs and the blues the bass part can be a bit boring but playing the right holes can make it more challenging.

I do that sometimes. I follow the Bass drum. I hit the note with the Bass drum and then rest.

 

[mojomike001]

In my opinion, in blues, soul, R&B, and funk, the "one" is indispensable. For example, James Brown insisted that Bootsy Collins play that "one." Then afterward, he could play anything he wanted to.

 

[LetItGrowTone]

The first time I heard this idea mentioned, that the non-notes are part of the music too, was in relation to John Bonham.

 

[bwildt]

When playing a bass line that where a bass note hangs over a snare hit. (think half-note alternating bass or dotted quarters, then an eighth), I often will stop a note from ringing just as the snare drum hits.

 

[nnnnnn]

If you search on "playing the rests" you might find more satisfactory results.

Yes. Playing the holes is more applicable to bass clarinet.

 

[BassFalcon]

John Cage wrote an entire piece of nothing but holes. Dig this groove:

 

[2112]

 

[Ralph Manak]

John Cage wrote an entire piece of nothing but holes. Dig this groove:

I believe 4'33" was written in 4/4.

 

[MIMike]

I don’t know, but I think if the drummer is hitting the SNARE on the one, the song is probably already LESS groovy.

 

[BassFalcon]

I believe 4'33" was written in 4/4.

It’s been ages since I’ve looked at the sheet music for it, but yes I believe it is in 4/4.

 

[gmarcus]

Looked at a slightly different way, were the notes stop contributes as much to the groove as where they start. This is especially true in reggae where you are playing those huge bass notes that are powerful enough to move furniture around. It's really important to stop those beasts at a good and groovy time.

 

[Ralph Manak]

When recording bass parts for people, I've been playing the rests for some sections of songs so certain aspects of what others are playing/singing stand out, and developing other lines for other sections of the song (for example, playing a response to the original part's call).

For recent shows, one of the band leaders has had us start the first set with a jam, during which he introduces the band and banters with the audience. They usually start with the drummer playing a groove, and I play eight or sixteen bars of the root on the one of each bar. What I do to develop the line depends on what others do. The listening exercise has been very fruitful.

 

[Joe Nerve]

My absolute favorite bass player for leaving space is Joe Schermie. Always liked 3 Dog Night but was never a huge fan until I noticed this guy's playing a few years back. IMO he's one of the most underrated bass players of all time, and a genius as far as I'm concerned regarding when NOT to play. Listen to just about any song here and I think you'll agree. The 1st is a great example...

 

[Zoffy]

If I'm playing with a drummer with a good sense of syncopation and timing then I leave room for the drummer to do their thing; if the drummer is a timekeeper (which is not a bad thing) I tend to embellish more - not to fill holes but to add texture. I've played the drums for over 30 years and have a pretty good sense of a drummer's sense of comfort stepping away from the pocket. That being said, sometimes playing less makes the notes played stand out more.

 

[Ekulati]

Sure, listening and knowing how to enhance a groove by emphasizing some beats and deemphasizing others is pretty standard "bass playing 101." (Although in your example you probably don't wanna leave out too many 1's unless you're playing reggae!)

 

[mambo4]

Deliberately silencing for the snare on 2 and 4 is a very effective way to anchor the pocket.

 

[jamro217]

If your goal is to accentuate the drums, then this is a viable alternative to the traditional bass role of playing the rhythm. Leaving out too many crucial notes will lessen the effect and make the music sound as if it is unfinished. Overplaying is the opposite and creates the problem of confusion. All of this boils down to what the musical score dictates. If the music stands on its own merit, then whatever the bass line is, play it. <Hey, that sorta rhymes, don'tcha know?

 

[Element Zero]

I do. And I don’t. Depends on the tune. Metal, country, modern worship, funk, pop etc… it all applies.