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Separating the pros from the amateurs; a list

matthewbrown

matthewbrown

Jan 7, 2003
2,263
2,444
Harwich, MA, USA
matthewbrownmusic.com
#1
I'm a semi-pro bassist who is fairly well schooled in music theory and studied with some really good teachers. A recent experience had me thinking about how a bassist who plays in an "amateurish" fashion is different than a bassist who plays like a professional. So I made a list, and welcome comments and additions.
Amateur players will likely
  • Play more notes than necessary
  • Not take into account what the singer or the rest of the band might be doing
  • Change register for no reason
  • not put what is best for the song ahead of everything else
  • fail to articulate notes in order to enhance the time feel
  • execute rhythmically inaccurate lines and fail to lock in with the other players
 
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#2
Nice list, but I disagree with the first statement. Well, I don't actually completely disagree, but what exactly do you mean when you say that amateurs play more notes than necessary? Yes, some of the amateurs try playing a lot of notes and try being very active on the bass, but aren't very good at it. But that's just because of their skill level. So if someone is alot more active on the bass (like a jazz or metal player) and they're constantly playing different notes, does that mean they're an amateur? Some other players are definitely not so active (like a slow blues player, or something like that), but that doesn't make them a bad or amateur player, that's just their playing style.

What exactly do you mean by that?
 
#4
devinp17 said:
Nice list, but I disagree with the first statement. Well, I don't actually completely disagree, but what exactly do you mean when you say that amateurs play more notes than necessary? Yes, some of the amateurs try playing a lot of notes and try being very active on the bass, but aren't very good at it. But that's just because of their skill level. So if someone is alot more active on the bass (like a jazz or metal player) and they're constantly playing different notes, does that mean they're an amateur? Some other players are definitely not so active (like a slow blues player, or something like that), but that doesn't make them a bad or amateur player, that's just their playing style.

What exactly do you mean by that?
Click to expand...
Well, if I'm playing a blues tune, there's not point in outlining every triad necessarily; roots, fifths and sevenths will do the trick. Or on a ballad jazz tune, there's no need to play a lot of grace notes that step all over what the soloist is doing. If a player is playing busy lines without rhythmic accuracy, that's not just in bad taste, it's also going to kill the groove.
 
#5
matthewbrown said:
Well, if I'm playing a blues tune, there's not point in outlining every triad necessarily; roots, fifths and sevenths will do the trick. Or on a ballad jazz tune, there's no need to play a lot of grace notes that step all over what the soloist is doing. If a player is playing busy lines without rhythmic accuracy, that's not just in bad taste, it's also going to kill the groove.
Click to expand...
I see. But I guess it really does depend on the genre/type of music you're playing.
 
#7
matthewbrown said:
I'm a semi-pro bassist who is fairly well schooled in music theory and studied with some really good teachers. A recent experience had me thinking about how a bassist who plays in an "amateurish" fashion is different than a bassist who plays like a professional. So I made a list, and welcome comments and additions.
Amateur players will likely
  • Play more notes than necessary
  • Not take into account what the singer or the rest of the band might be doing
  • Change register for no reason
  • not put what is best for the song ahead of everything else
  • fail to articulate notes in order to enhance the time feel
  • execute rhythmically inaccurate lines and fail to lock in with the other players
Click to expand...

I would say some of your statements are "way too diplomatic".
Let's take the following:
"Amateur players will likely execute rhythmically inaccurate lines" - I doubt that we are even talking about an amateur musician. It's pre-beginner's level.


One more,
"Amateur players will likely fail to articulate notes in order to enhance the time feel".
My question:
If I play and properly articulate one rhythmic pattern/riff/groove in Verse 1,
but in Verse 2, I decide to change my mind and play a different but properly articulated groove/rhythmic pattern, is it going to be "playing like a professional?"

I would add the following statements:
A true PRO bass player plays the bass part in EACH AND EVERY BAR properly articulated and with required mood, character, etc...
It means, that sometimes his/her bass-lines could be purposely "busy",
sometimes, purposely "very un-busy", BUT ALWAYS BEAUTIFULLY ARTICULATED.
(I'm not talking about Jamming or about Jazz, Free-Form Jazz)
My biggest "pet peeve" is to see a bass player who was so emotional, so excited to play a "busy" line or a solo, and after that, just "kind of" plays that "required" bass part.

A true PRO bass player DEVELOPS, builds on his/her groove, melodic-rhythmic pattern, provides continuity of his/her bass-line in all parts of a song or composition.

A true PRO bass player ALWAYS adds some tiny "ornaments" to his/her bass-lines that do not destroy the groove but add to the "feel", groove, etc...
 
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#8
matthewbrown said:
  • Play more notes than necessary
  • Not take into account what the singer or the rest of the band might be doing
  • Change register for no reason
  • not put what is best for the song ahead of everything else
  • fail to articulate notes in order to enhance the time feel
  • execute rhythmically inaccurate lines and fail to lock in with the other players
Click to expand...

Your list reminds me of 90% of the drummers i have played with. We'll, tried playing with.
 
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#9
I am so far away from being a pro I probably shouldn't even comment, but...

I don't think there are any hard and fast rules that can't be broken. For every law there is a pro who proves the exception. I think generalizations work much better. I also think there aren't any rules specifically for bass players - I think it applies to all "pro" musicians.

Generally speaking I think a pro will have a sustainable technique. By this I mean a technique that allows them to play what they hear without the threat of long term physical damage.

I think a pro serves the song. Loud, soft, with a pick or without, busy or not - whatever the song requires.

I think a pro comes in prepared and properly equipped for the situation. Rehearsal or gig, large or small venue, whatever.

To me a real pro is someone like Macca. When we talk about Paul we don't question his technique - we don't question his equipment or equipment choices - we seldom even get to question what he plays. Paul has - for fifty plus years - played what the song needed. I can't think of anything more pro than that!
 
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#11
matthewbrown said:
  • Not take into account what the singer or the rest of the band might be doing
Click to expand...

I'm an amateur for sure.

The point you have made here is something that I feel should be an idea that any musician should be embracing. Nothing I play is rocket science, but I often vary my line based on what the rest of the band is doing - either because of tempo or vocal melodies shifting. There is no need to force something into a place it doesn't want to fit.
 
#13
What kind of pro? If you're referring to studio/touring pro I'd look to Lee Sklar or Tony Levin for examples of what to do. If by pro you mean an 'artist', look to Victor Wooten, Steve Lawson, Tony Grey, Richard Bona, or many others who have carved out a signature sound and vision. Of course, the solo artists can also do what's required of a studio/touring pro.
 
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