Tag Archives: 16th

8th and 16th Note Bass Lines – Part 2 – Sixteenth Note Bass Grooves

Eighth and Sixteenth Note Bass Grooves

In this video lesson you’ll learn all about sixteenth note bass grooves. How they differ from eighth note grooves and some practical advice for practising them.

What’s the difference between eighth and sixteenth note feels?

I explained in Part 1 of this lesson that when you divide a beat into two, you get an eighth note feel. If you divide each beat and each off-beat into two, so that each beat is divided into four, then you will have a sixteenth note feel.

When you play eighth note grooves, you can place notes either on the beat or off the beat. On Ta or on Ka. When playing sixteenth note grooves you can still place notes on the beat, but there are now three different places where you can place notes off the beat.

There is still a conventional off-beat, as there was with eighth note grooves. This is the point in time exactly equally distant from the beat before and the beat after. However, there are now two other sub-divisions. The first comes between the beat and the off-beat, and the second comes after the off-beat. All four sixteenth note sub-divisions must be equal. None of them is longer or shorter than the others.

Learn to feel all four sixteenth note sub-divisions individually.

In Part 1 I explained that in order to groove in an eighth note feel,  you must feel the beats and the off-beats. So if you want to groove while playing a sixteenth note feel, then you must also feel the other two sixteenth note sub-divisions. And, to have great timing you should be able to accurately place a single note on any sixteenth note sub-divisions.

Each of the four sub-divisions has it’s own unique feel when you place a single note on it. Just as the beat has a very distinct feel from the off-beat. So the other two sixteenth note sub-divisions have their own distinct feel.

How do I improve my sixteenth note groove?

First you need four syllables to represent the four sixteenth note sub-divisions, Ta-Ka-Di-Mi. I used Ta-Ka to represent the beat and off-beat in eighth note grooves. For sixteenth note grooves Ta is the beat, Di is now the off-beat and Ka and Mi represent the additional sixteenth note sub-divisions.

As with eighth note grooves, the key to having great timing is the ability to place a single note very accurately onto a sub-division. If fact that is the key to having great timing no matter what the feel or style of music. So begin by trying the exercise demonstrated in the video. Say Ta-Ka-Di-Mi, making sure you say it in time, with every syllable equal in length. Use a metronome or drum beat to help if you need to. Then try playing a single note on each of the four syllables. First Ta, then Ka, then Di, then Mi. This should help you to experience the different feels of the four sub-division.

Once you’ve done that, try playing this sixteenth note example from the video slowly.

Sixteenth note bass groove
Sixteenth Note Bass Line for Electric Bass

Try reciting Ta-Ka-Di-Mi while you play it, as I’ve demonstrated in the video. Play it as slowly as you need to in order to place all of the notes accurately. Once you can do that, try gradually increasing the tempo. Don’t try playing the example fast until you’ve mastered it slowly.

Why you should always start by practising slowly

A good rule of thumb to remember is this. If you can’t play something in time slowly, your time feel won’t be good when you play faster. I’ve often heard students say that it’s harder to play something slow than fast. It can often feel that way. The reason is that playing something slowly makes all of the little errors of timing very obvious. They’re not so obvious when you play fast. However, if you want to improve your groove, you need to get rid of those little timing errors. Those notes that are placed slightly before or after the sub-division they were meant to be on. And that involves playing very accurately slowly, and then gradually speeding up while maintaining the same levels of accuracy. That’s how you improve your bass groove!

All of the examples in this series of videos come from my book Electric Bass – Improve Your Groove: The Essential Guide to Mastering Time and Feel on Bass Guitar.

3D Cover Image Improve Your Groove
Electric Bass – Improve Your Groove

Click on the link to find the book. https://geni.us/bassgroove.

The book contains over 140  audio examples featuring eighth and sixteenth note grooves in a variety of styles including rock, blues, jazz and latin. It also features sections on syncopation, shuffle feels, triplets and swing. It has practical advice for grooving with drums and sharing a collective time feel in a group. And it features five pieces with play along backing tracks to help you put these ideas into practice.

Happy practising!

 

8th and 16th Note Bass Lines – Part 1 – Eighth Note Bass Grooves

Eighth Note and Sixteenth Note Bass Grooves

This is an important topic for bass players because most music has either an eighth note or sixteenth note feel. So, every bass player should know when and how to use eighth and sixteenth notes.

What are they and how do I master them on bass?

In this video lesson I’ll demonstrate the difference between bass lines with an eighth and a sixteenth note feel. Then, I’ll explain how to improve your rhythmic accuracy when playing these feels so that you will improve your groove.

 

First have a look at these two examples from my book Electric Bass – Improve Your Groove: The Essential Guide to Mastering Time and Feel on Bass GuitarFind the book by following this link.

https://geni.us/bassgroove

Eighth Note Example
Bass line with an eighth note Feel
Eighth Note Bass Line for Electric Bass
Sixteenth Note Example
Bass line with a 16th note feel
Sixteenth Note Bass Line for Electric Bass

Listen to both examples either by watching the video or by using the Mp3 audio tracks that accompany the book. It’s so important to listen to the examples as well as reading them. If you only read them without listening then you’re only getting half the story.

The first thing that I want you to notice about these examples is that they’re quite similar. The speed and chord progression are the same and they contain mostly the same notes. I deliberately wrote them that way because I wanted the only difference to be the rhythmic feel. The first example has an eighth note feel and the second has a sixteenth note feel.

What is an eighth note feel?

An eighth note feel means that every beat is divided into two. So each beat contains a beat and an off-beat.

The off-beat is the point in time exactly equally distant from the beat before and the beat after. The eighth note example above has four beats in each bar so there are four beats and four off-beats in each bar. Therefore there are eight different places in each bar where you can place a note either on the beat or off the beat. Hence it is called an eighth note feel.

It can only be called an eighth note feel if all the notes are placed on either beats or off-beats. If a note is placed on any other sub-division then it’s no longer an eighth note feel.

An eighth note feel does not mean that you have to play eight notes in every bar on all of the eight sub-divisions. It means that all of the notes that you play are placed on either beats or off-beats.

How do I improve my eighth note groove?

In most cases when you’re playing an eighth note feel, you’ll play with an eighth note drum beat. Meaning that the drums are playing the eighth note sub-division. If you want your bass line to groove you need to make sure your notes sit very accurately in time with the drummers sub-divisions.

However, you should also be able to groove playing eighth notes even when you’re not playing with a drum beat. In order to improve your eighth note grooves you need to have a system for feeling the eighth note sub-division when you play.

My system involves using the syllables Ta-Ka. Using this system Ta represents the beat and Ka represents the off-beat. Recite Ta-Ka four times making sure that every syllable has equal length, Ta-Ka / Ta-Ka / Ta-Ka / Ta-Ka. This represents one bar of eighth notes. Four Ta‘s represent the four beats and four Ka‘s represent the four off-beats. Try reciting the Ta-Ka‘s in time with the audio example in the video (you’ll find it at 1m52s). If you can do that and keep it in time, then you are feeling the eighth note sub-division.

How should I practise to improve my eighth note feel?

You will improve your eighth note bass grooves by playing off-beats very accurately. I hear a lot of bass players who play on the beat very well, but they seem to guess where the off-beat is. They play it either too early or too late.

The key to having great timing is the ability to place a single note very accurately onto a sub-division.  Practise this by first placing a note just on the beats (Ta‘s) and then just on the off-beats (Ka‘s). I’ve demonstrated this in the video. If you’re struggling to keep in time while you do this, make sure you practise it slowly in time with  either a metronome or drum beat.

In order to play eighth note grooves really well, you first need to feel the beats and the off-beats and you need to be aware of which notes land on the beats and which land on the off-beats. Then you need to make sure that the notes on the beats land perfectly on the Ta syllables and the notes on the off-beats land perfectly on the Ka syllables. If you do that, your bass groove will be superb when playing eighth notes either with or without a drum beat.

What About Sixteenth Note Grooves?

Please continue to Part 2 of this lesson, you can find it using the link below. In Part 2 you will learn everything you need to know about sixteenth note bass grooves.

8th and 16th Note Bass Lines – Part 2 – Sixteenth Notes