Bass Matrix
WORKSHOP
“BASS MATRIX is THE exciting bass book on the subject of “GROOVE DESIGN”: Developing stylish basslines and solos – with the language of subdivisions. The book has 296 pages and more than 400 audio examples – plenty of material for a workshop. I have already held workshops on this topic at the Dresden Drum&Bass Festival and the Guitar Summit, among others. Here I can introduce you to the workshop concept.
Each pattern is divided into groups. This “grouping” forms the rhythmic basis and is filled with different tones depending on the bass style. With this approach, you can play in any groove situation in a stylish, song-oriented and creative way. Because you don’t just learn riffs by heart, you build up your own groove and fill repertoire, which you have ready in every rhythm and in every time signature. And if you analyze familiar grooves from this perspective, some exciting creative surprises emerge.
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ABOUT THE AUTHOR
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INTRO
These basics of the bass matrix are shown at the beginning, practically illustrated with fat playbacks and song examples of well-known songs, bands and bassists. And since everything is based on groups, there is no longer any difference between even and odd meters: what works in 8:332 also works in 7:322.
ROOVED IN
Along the “Toolbox1” of the book, we now continue with “Grooving in and Basic Patterns”. The first step involves clapping and counting, accompanied by practical examples with the audience. A grouping is selected, e.g. 16:42424. This is then counted through together, with a clap at the start of each group. Counting is first done in numbers and then in konnakol, as it is easier to pronounce; you can also use your own syllables. This preliminary exercise helps to clarify the basic accents of a groove and to develop a feeling for the flow of a bassline. This part is very much appreciated by the audience, and it’s a great moment when the whole audience claps through a grouping together while basslines based on it are presented. You then start building basic patterns with the help of a few groove presets, which are filled into the individual groups. These are simple tone presets that are inserted into any selected grouping, resulting in different basslines. Many bass parts are already based on exactly these basic patterns. Depending on the sound material, they can be expanded further and all kinds of familiar riffs can be created. To simplify things, I’ll concentrate on em pentatonics first, so that the focus is really on groove and rhythm. After clapping in, we run through the individual groove preset levels. Practical song examples follow before we move on to the next grouping. This method is applied to 42424, 43324 and 333322 (or more, depending on the time).
GROOVE DESIGN
Along “Toolbox2” of the book, we expand the repertoire of bass presets and refine the resulting basslines. In this way, you internalize the method with which you can accompany any groove situation. Finally, “groove in” and “groove design” are also applied to Shuffles (3333, 33222, 3324) and Oddmetre (10:334, 14:43322 etc.). This is usually a real eye-opener, as there is then no longer any difference between even and odd meters, as everything consists of groups that are filled with the group specifications accordingly. The method is universal and offers scope for creativity. It sharpens the understanding of the groove and makes the timing more solid. In the course of these exercises you will also get to know many well-known riffs that are based precisely on this bass repertoire.
BASS OPTIONS FOR A DRUMBEAT
The next main part of the workshop corresponds to Toolbox3 of the book. What bass options do I have for a given drumbeat? You can get completely different groove styles out of one and the same drum pattern to shape the song or track. Once again, the starting point is grouping, this time the grouping of the drumbeat. This is determined by the kick and snare corner points and enriched with additional snare or kick intermittent tones if required.
In contrast to bass groupings, the number of most frequently used drum groupings is relatively small. They are all covered in the book and are also given names such as “Bouncer”, “Dynamo”, “Cliffhanger” or “Bootyshaker”. Depending on the time, some of these beats will be presented in the workshop. First, the grouping is made conscious and you groove to it again. Then you develop basslines based on the same six bass groove levels:
1st snare check (release snare or play through)
2. tone lengths (try long and short tones)
3. get busier: more bass overtones
4. bring in silence: Pauses and horizontal tones
5. straightening: a straighter grouping in the bass
6. bring in movement: a more syncopated grouping in the bass
Again, this is a standardized method that can be applied to any beat. Many well-known songs and basslines appear here too. This method is stylistically open and includes pop, rock, funk, soul, reggae, hip hop, afrobeat and Latin. Individual styles can be emphasized more strongly if desired, so that you can go into even more detail from a grouping and groove design perspective. The workshop participants learn to recognize a beat and its grouping, to groove to it and to develop basslines. The whole thing is an exciting journey through the world of drum grooves, from straight and familiar beats to wacky, odd and compound rhythms. With well-researched song examples and fat beat playbacks, based on the 60-page drum bass groove atlas in the book.
Finally, Toolbox4 in the BassMatrix book is all about fingering patterns. Different fingering patterns, their characteristic sound and typical basslines are presented with a practice-oriented view. Experience shows that many bassists are not always aware of these images and the associated sounds. For example, there are some very simple fingering variations of the pentatonic, which are extremely practical for developing basslines and on which many well-known examples are based. In the matrix, the basslines are now displayed as numbers corresponding to their intervals, which enables you to transpose a bassline to any key. Depending on the length of the workshop, I usually put this segment on the back burner as it needs graphic support and can be a little drier. I then go into this from time to time in the other parts of the workshop to keep the main focus on rhythm and groove.
FILL INS
When they are tastefully and tightly embedded in the groove, fill-ins give a bass part an extra kick. To achieve this, there are a few exercises in Toolbox5 that can be applied to all fills. First, a fill is rolled up note by note from the back to its starting point in order to feel exactly where the notes are in the grid and where the fill begins in the bassline. Then practice incorporating this fill-in into larger cycles every 4, 8 or 16 bars, while remaining even and steady in the groove. There is a three-page fill-in library in the book. However, fill-in suggestions from the audience can also be taken up. Fill-ins can also be used in other meters: Funk or pentatonic fill-ins can also be transmitted in 5, 7, 9 etc.
GROOVE TRANSFORMATION
When they are tastefully and tightly embedded in the groove, fill-ins give a bass part an extra kick. To achieve this, there are a few exercises in Toolbox5 that can be applied to all fills. First, a fill is rolled up note by note from the back to its starting point in order to feel exactly where the notes are in the grid and where the fill begins in the bassline. Then practice incorporating this fill-in into larger cycles every 4, 8 or 16 bars, while remaining even and steady in the groove. There is a three-page fill-in library in the book. However, fill-in suggestions from the audience can also be taken up. Fill-ins can also be used in other meters: Funk or pentatonic fill-ins can also be transmitted in 5, 7, 9 etc.
FORMAT / INTERACTION
CONCERT INTERLUDES
The workshop is broken up with solo pieces from my own pen: I have a 2-set solo concert program with live electronics, of which I play individual numbers, depending on the length of the workshop, to round off the whole concert. For some pieces, I also briefly introduce the respective grouping basis. If you are interested, you can also go into more detail on individual pieces. A separate concert section is also possible – sufficient repertoire is available.
