Build Your Bass Groove, Part 1

Hey there, bass players! 

If there’s one thing we all aspire to do, it’s groove. Lock in with a drummer, create a pocket, make the band sound good, and perhaps even get people on the dance floor. We want to enjoy the music we’re playing and be present in what I can only describe as the most fun you could possibly having playing music. That’s grooving. It doesn’t necessarily mean that you’re playing ‘a groove,’ or a repetitive phrase, though that is often where our mind goes. In fact, you can make any music groove—ballads, rock and roll, polka, you name it. All it means is that you’re playing something musically and with feeling. It’s played with conviction and confidence. And, if you’re doing it right, the listeners will think “hm, that’s pretty damn good.” 

For the sake of this article, we’ll focus on what most people consider ‘bass grooves’ and save all of the other music for another time. As I mentioned before, it’s usually a repetitive phrase. It accomplishes all of the musical goals… it outlines the harmony, solidifies the rhythm or feel of the song, and is catchy enough to be played over and over again. The groove can remain consistent throughout the entire song (think ‘Good Times’ by Chic) or you can play a few different grooves to denote a section of a song (think ‘Billie Jean’). When you go to improvise and create your own groove, keep these musical goals in mind. 

Improvising and Building A Bass Groove 

While we all want to groove, it can be challenging to get started. That said, consider the grooves that came before… the bass lines on records that you love. Go learn them! You want to have a solid repertoire of bass grooves under your fingertips so that they can serve as inspiration. Some grooves are played over just one chord, others are played over a two-chord progression, and some move the bass pattern to every chord in the song. Trust me, after listening to a bunch of records, you’ll encounter each of these examples. 

When I begin building a groove, I like to give myself a prompt to play to. I’ll pick a key and decide whether I want to play with major tonality or minor tonality. That way, I have my starting point. This can be something you simply come up with or feel in the moment, or, it can be dictated by a song, feel, or style that you’re trying to emulate. For instance, if I want to play something inspired by “I Wish” by Stevie Wonder, then I’ll use that as my prompt. I’ll gravitate toward Eb and will lean towards minor tonality. I’ll hear the groove of the song in my head, try to find an appropriate tempo, and create my groove from there. 

Creating A Framework For The Groove 

When you’re starting from scratch, play a note on the downbeat. Define time simply by playing ‘root notes on the one’ or the first beat of the measure. While this may seem like a pretty simple way to get started, it actually sets you up to play a lot of music. It defines the time and creates space for you to fill in. This is the beginning of your groove framework. Then, play another defining phrase within the measure—this will likely be a couple of notes placed in the middle of the bar. I enjoy leaving space at the end of the measure so that I can add a fill or sneak in some voice leading before I arrive back at beat one. 

How Bass and Drums Interact 

As I build this groove framework, I often look to the drummer to help me define those ‘middle’ notes. The kick drum will provide me with a rhythm to latch onto and, by matching the pattern of the kick drum, you’re essentially ‘locking in’ and solidifying the underlying rhythm for the song. Pro tip: if you’re playing live and are having a difficult time hearing the kick drum, look down at the drummer’s feet and watch their foot on the kick pedal.

You can also take other signals from the drummer…does the groove sound punchy or tight? If so, they’re probably playing with a closed hi-hat. Does the groove sound loose and swinging? They’re probably keeping time with their ride cymbal. By listening to the different parts of the drum kit, you can match the length of the notes. Try to play with tight, short (or staccato) notes if they’re rocking the closed hi-hat or longer, fluid, legato notes if they’re playing on the ride.

Add Fills To Your Bass Groove 

Once you’ve established your groove framework, you can start to fill in more of the space. You can add more notes, change where you play some of the notes, or add bass fills. Fills are often short phrases or licks that we play, often towards the back half of the bar (beats 3 and 4). I enjoy using fills to create a sense of symmetry in my groove, so I’ll place them every other bar or use them to denote four-bar phrases. If I do this, I’ll try to play the same groove consistently for the first three bars, then add a fill towards the end of the fourth bar, just before returning to the downbeat. 

Clean Up Your Groove 

While it can be super fun to add fills, it’s always nice to take away a few notes. This creates a feeling of space and may even help you evolve your groove over time. You may get super busy, then take a step back and revert back to your initial groove, and then adapt the rhythm of it to create a completely new groove! That’s the fun part about improvising—knowing that you have the freedom to make and evolve music in real-time. So, grab your bass and get grooving!