Thanks for asking. I think this is a great question and I’m learning from the responses.
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When to go low?
- Thread starter 5string5fingers
- Start date
Thanks for asking. I think this is a great question and I’m learning from the responses.
Maybe. Maybe not. But if you actually are a musician, you'll play what you think is right regardless of whether or not anybody besides yourself and/or a fellow bass player will appreciate it. Professionalism and artistry aren’t dependent on applause - or someone else thinking you’re clever.
You play to serve the song and the singers. While I OF COURSE dropped those depth charge C's and D's in everything at first, soon enough, I got tired of playing with my toy, rational common sense and my ears took over once again, and then I just play the tune. Granted, I tend to play my five from the E on the B-string and roughly combine first and second positions so that I can play across the fingerboard with fewer shifts. But I've utterly quit thinking in terms of where a low C would work and where it wouldn't. It's just a few extra notes to consider among all the rest of them, and I shoot to play what works.
When it will sound good. There is no other answer other than that: form an opinion. That's what being a musician is.
That said, the final say on the matter should go to the band leader or director.
That said, the final say on the matter should go to the band leader or director.
And if possible, listen to the room respond to your very lowest notes while the band is playing. If the room is a giant kick drum shell that handles the lowest notes very poorly, you'll probably know. Consider having someone play that thing along with the band and you go out somewhere in the room and listen.
Most of what I would say has been said, but I will add my $.02. My only playing out has been Praise and Worship and I alternate Sundays with my bass teacher 
. He is an ex-pro Rocker and plays some pretty nice stuff. I am a lot more basic, but solid and get plenty of (mostly polite) compliments when I play. Our "arrangements" are fairly casual and more about bringing the Worship than duplicating the record. I also do sound once or twice a month (5 Sunday months).
My teacher kept trying to discourage me from using the B string (after recommending I get a 5 string!), saying it would sound muddy. I play a Stingray 5HH and the B string sounds great to me. Early in my lessons Kevin taught me to listen to the tone when choosing which string to play a note on - assuming it's a good reach. When I was playing a 4 string, he used to bug me to play up the neck more, and with the 5 string I do ; )
To make sure about the "muddy" thing, I checked with the other sound guy, and stayed late to listen to our system and how it was handling the lows. The result is I seldom go below the D and never below the C. As mentioned, everything E and above are notes you were already playing on the 4 string, just listen to what sounds best and suits the song.
. He is an ex-pro Rocker and plays some pretty nice stuff. I am a lot more basic, but solid and get plenty of (mostly polite) compliments when I play. Our "arrangements" are fairly casual and more about bringing the Worship than duplicating the record. I also do sound once or twice a month (5 Sunday months).My teacher kept trying to discourage me from using the B string (after recommending I get a 5 string!), saying it would sound muddy. I play a Stingray 5HH and the B string sounds great to me. Early in my lessons Kevin taught me to listen to the tone when choosing which string to play a note on - assuming it's a good reach. When I was playing a 4 string, he used to bug me to play up the neck more, and with the 5 string I do ; )
To make sure about the "muddy" thing, I checked with the other sound guy, and stayed late to listen to our system and how it was handling the lows. The result is I seldom go below the D and never below the C. As mentioned, everything E and above are notes you were already playing on the 4 string, just listen to what sounds best and suits the song.
All depends on what the songs need. It can be overbearing if you do it too often. Pick your spots where you really want to add some weight and emphasis and emotion. Like let's say a song is in D. The first 3/4 of the song, don't play the low D. On the last refrain, bring it in just once or twice at the most climactic moments and it will be huge!!
Well, I think there are two good concepts to keep in mind - boiling the frog, and dropping the bass...bear with me.
By boiling the frog, you play most of the song or section in a higher register so people get used to that as the proper level of low end but you've kept your gravy notes in the bag for the big finish or kick in after a build - gives this sudden sense of huge width of frequency range in the big parts.
Dropping the bass is very similar but more keeping the low notes as sparsely used as possible, using them to emphasise or as the release after building tension by playing higher in the range.
Some songs I will start up very high, start dropping lower notes in, them switch to the mid register, then finish the song playing the lowest notes I've got.
It's mainly realising that higher up fretboard = building tension, lower down is release.
I tend to play more notes when higher up, but stick to my knitting down the low range.
By boiling the frog, you play most of the song or section in a higher register so people get used to that as the proper level of low end but you've kept your gravy notes in the bag for the big finish or kick in after a build - gives this sudden sense of huge width of frequency range in the big parts.
Dropping the bass is very similar but more keeping the low notes as sparsely used as possible, using them to emphasise or as the release after building tension by playing higher in the range.
Some songs I will start up very high, start dropping lower notes in, them switch to the mid register, then finish the song playing the lowest notes I've got.
It's mainly realising that higher up fretboard = building tension, lower down is release.
I tend to play more notes when higher up, but stick to my knitting down the low range.
Good thread. Thanks for starting it. Very instructive for an intuitive bass player like me.
Timon
Very useful contribution, this.
I play an eight-string with a low F#, so while I’ve never played it in a church I’m used to being able to reach far lower notes than guitar colleagues in the band I play in.
My two observations:
1) is to reinforce what everyone else has been saying; don’t ride the low notes, use them for effect and if you hit them sparingly at the right moment they’ll have more impact. It’s also fun to go low if there’s a section where others are playing atmospheric high parts so it feels like the centre has fallen out - there are a load of clever ways you can use your register as a tool to get a certain feel.
2) is to point out you don’t need to play single notes, with a 5 you’re not limited by your notes running out after open low E, so you can build (e.g.) a descending bass line and not have to jump up an octave because you’ve run out of strings. You’ve got five extra notes on that B string - not five extra root notes. That gives a load of extra chord tones or counterpoint opportunities; it’s so much more than just letting you play a lower D than before.
My two observations:
1) is to reinforce what everyone else has been saying; don’t ride the low notes, use them for effect and if you hit them sparingly at the right moment they’ll have more impact. It’s also fun to go low if there’s a section where others are playing atmospheric high parts so it feels like the centre has fallen out - there are a load of clever ways you can use your register as a tool to get a certain feel.
2) is to point out you don’t need to play single notes, with a 5 you’re not limited by your notes running out after open low E, so you can build (e.g.) a descending bass line and not have to jump up an octave because you’ve run out of strings. You’ve got five extra notes on that B string - not five extra root notes. That gives a load of extra chord tones or counterpoint opportunities; it’s so much more than just letting you play a lower D than before.
Depending on the song, you have to listen, for example: Slow songs like good good father, the bass starts on the choru using notes high on the neck: A note on A string 12 fret, then as the song progress the bass move to lower notes.
Fast songs usually start on lower notes and go up the neck to call for a breakdown or to play the chorus again.
Check youtube, there are several tutorials for the most popular worship songs.
Fast songs usually start on lower notes and go up the neck to call for a breakdown or to play the chorus again.
Check youtube, there are several tutorials for the most popular worship songs.
Not the rules, but some guidelines I follow for when to B or not to B:
-During a build-up, go low. It changes the feel , and the larger spread of octaves makes that section of the song feel bigger.
-If a song is super repetitive (same chord progression through the whole song), I alternate octave up/octave down. Makes the bass line more interesting. You could even go up 2 octaves during the chorus.
-If the song is slow enough to let a note ring out for a whole measure, you could play the low and high octave together. Don't do an entire song this way, but used judiciously, it can add some texture.
-During a build-up, go low. It changes the feel , and the larger spread of octaves makes that section of the song feel bigger.
-If a song is super repetitive (same chord progression through the whole song), I alternate octave up/octave down. Makes the bass line more interesting. You could even go up 2 octaves during the chorus.
-If the song is slow enough to let a note ring out for a whole measure, you could play the low and high octave together. Don't do an entire song this way, but used judiciously, it can add some texture.
It always comes down to what your ears are telling you. I’ve used the B as a pedal in a bridge/middle 8 type situation just pumping 8th notes. It provided a tension that kicked the chorus hard when it came back in. I also use it as a rhythmic grace note when I’m in the key of E. It’s nice to bounce off. I use the low D quite a bit too in the same way when your in G. It’s also great for dropping down to the 3rd from the G chord. That’ll give your drummer a kick in the backside if you do it with conviction. Our drummer gets excited when I drop down and walk back up from the B specially on the 1e of the first beat.(2nd 16th note)
Trust you own musicality and go with what feels right. You’re gonna get some people who say they never need it. I like it and use it.
But generally, if it works, do it. If not don’t.
Trust you own musicality and go with what feels right. You’re gonna get some people who say they never need it. I like it and use it.
But generally, if it works, do it. If not don’t.
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Don’t use it too often (like every song)
But when you do- make the people feel it.
A low b can add so much weight to poignant moments when used appropriately.
Or mud when it’s not.
But when you do- make the people feel it.
A low b can add so much weight to poignant moments when used appropriately.
Or mud when it’s not.
Because it's so often that a pipe organ and a praise & worship team play together. Does the OP have a large pipe organ at his church? I doubt it. That a large (notice I keep saying "large") pipe organ can play very low notes has nothing whatsoever to do with the price of tea in China.
If an instrument can go very low, there's no guarantee those notes will be musically useful. Last night, I was watching a video of a guy playing a baroque contrabassoon. One note sounds like a small two-stroke chainsaw. Not very worshipful, really.
I often play higher up on the B. I'd use the G on the B string, but the C, D, E on the E string (E on the 12th fret). Anything below F on the B string is usually reserved for the end of the song (though I've had a few they work in).
