I'd like to get better at incorperating ghost notes, more in a quick tripplet/ fast run type context. Think Mike Watt rather than Flea I guess. My dedication to doing exercises tends to be quite poor, so I typically just try and learn songs that incorperate whatever technique I'm working on. Wondering if anyone has some song reccomendations for me?
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Songs to practice quick ghost notes?
- Thread starter Exophysical
- Start date
Are there examples you can give of this technique? I can think of plenty of songs with percussive parts a la Victor Wooten that have faster lines with ghost note triplets, but not many examples in the punk rock world.
If you want to go to the foundational stuff, James Brown and Tower of Power will give you plenty of ghost note material, especially if you dig into the JB stuff with Bootsy Collins on bass.
But ultimately, no technique is going to become very useful if you don't develop good practice habits.
If you want to go to the foundational stuff, James Brown and Tower of Power will give you plenty of ghost note material, especially if you dig into the JB stuff with Bootsy Collins on bass.
But ultimately, no technique is going to become very useful if you don't develop good practice habits.
Lots of songs. Check a bloke called Jaco.
What Is Hip by Tower of Power is sort of a made to order example of what you seek.
I have a song on my 'to learn' wish list that could help - Hunch Gray:
It's on a 5 string, slap bass and there isn't a huge amount of ghost notes, but they are being incorporated in an active bassline. Nailing these ghost notes should get you well on your way to having a feel for adding speedy ghost notes.
It's a deep end approach though, there are easier, more structured (ultimately quicker?) paths. Still, I thought I would at least put it out there.
I linked to an example phrase, 1:57, with some semiquaver (quarter) ghost notes which is followed by a phrase with triplets (2:06), also incorporating ghost notes. Focussing on just those two phrases is sufficient for ghost note practice. I would add a third phrase and go from 1:57 to 2:22.
It's on a 5 string, slap bass and there isn't a huge amount of ghost notes, but they are being incorporated in an active bassline. Nailing these ghost notes should get you well on your way to having a feel for adding speedy ghost notes.
It's a deep end approach though, there are easier, more structured (ultimately quicker?) paths. Still, I thought I would at least put it out there.
I linked to an example phrase, 1:57, with some semiquaver (quarter) ghost notes which is followed by a phrase with triplets (2:06), also incorporating ghost notes. Focussing on just those two phrases is sufficient for ghost note practice. I would add a third phrase and go from 1:57 to 2:22.
Almost anything by Tower of Power will give you what you're looking for. Attitude Dance is filled with ghost notes, along with What is Hip and their other big songs.
The basic trick to make the ghost note sound good is to play the muted tone louder than the sounding notes, to achieve a consistent dynamic. To do that, your finger needs time enough to perform a good pluck. It's hard to do on those 16th funky lines, usually the ghost note is just before the beat, and several finger actions need to be performed at the same time. You need to plan your plucking 'fingering'.
Often, if you feel you can't do it right, the help is to clean your plucking technique, and the ghost notes will get better as well. I would recommend Ed Friedland's Hal Leonard Bass Method, even for experienced player. It is surprising how rewarding it is to reconsider your technique piece by piece from the very start.
Often, if you feel you can't do it right, the help is to clean your plucking technique, and the ghost notes will get better as well. I would recommend Ed Friedland's Hal Leonard Bass Method, even for experienced player. It is surprising how rewarding it is to reconsider your technique piece by piece from the very start.
It depends on the level of each bass player.
To me, currently the following track, "Unfamiliar" from Orlando le Fleming's "Romantic Funk" album.
I really like Orlando's bass-line approach on the track.
Philip Dizack - trumpet (all tracks except 6)
Will Vinson - alto sax
Sean Wayland -keys/synths
Orlando le Fleming - upright and electric bass
Kush Abadey - drums (except tracks 3 & 5)
Nate Wood - drums (tracks 3 & 5)
Pull up an isolated version of this... plenty of ghost notes/harmonics to work with. Substitute actual triplet notes with ghost notes, if that's your goal.
Don’t skip over the slower Tower of Power songs either. “Your Still a Young Man,” for example, has loads of tastefully incorporated triplet ghost note vibes. And then more recently there’s anything Joe Dart from the band Vulfpeck has played.
Great suggestions so far.
I'll add "Sultans of Swing" if you actually play it with all the ghost notes in there, which many do not.
I'll add "Sultans of Swing" if you actually play it with all the ghost notes in there, which many do not.
As someone who has recently had to learn a handful of Tower Of Power bass parts (including “What Is Hip”) for one of my cover band gigs, I can confidently say that there are better sources for ghost-note material than Rocco Prestia’s bass parts… because the thing that makes Rocco’s parts so unique, so amazing, and so difficult is that he *doesn’t* ghost a lot of notes, HE PLAYS NEARLY EVERY FREAKIN’ ONE OF THEM! Fully formed with defined pitch and clear attack/release, even if they’re in a relentless stream of 16th-notes. He makes every note sound. It’s uncanny.
Agree with everyone who cited Jaco Pastorius, because even when Jaco was channeling Rocco, he did so with a lot of ghost notes…lots more than Rocco ever did.
Pull up an isolated version of this... plenty of ghost notes/harmonics to work with. Substitute actual triplet notes with ghost notes, if that's your goal.
The first person I thought of was Geddy, not because he's the most accomplished at it, but, I'm more familiar with his playing. IMO, for me, anyway, that's what makes him hard to copy, the speed he throws them in.
Probably not exactly in the style that you're looking for, but add Sir Duke to your repertoire. Not only are there some nice ghost notes, but that sung is just fun as hell to play.
Also, I second the suggestion for Rio. My band has been doing that track since the '90s.
Also, I second the suggestion for Rio. My band has been doing that track since the '90s.
Pull up an isolated version of this... plenty of ghost notes/harmonics to work with. Substitute actual triplet notes with ghost notes, if that's your goal.
No ghost notes on there. Just regular notes played fast.
