In Level 1 of The Art of Groove, we spent time working on basic harmony, to the extent that we can now apply our knowledge of the modes and readily know the scales that best reinforce diatonic harmony over many of the chords we encounter in contemporary music.

However, in my opinion, not all of the notes that could be played over a particular chord are effective building blocks for grooving over that chord. There are certain scale degrees that seem to really drive home the harmony of the moment. I refer to these scale degrees as the meat & potatoes groove intervals, because they function so well as the “meat and potatoes” building blocks of grooves.

Grooves incorporating the meat & potatoes groove intervals generally can be played over long musical passages without creating excessive tension and/or dissonance, and without causing the listener to constantly feel that they are being pulled elsewhere only to be dropped right back where they were.

Some of you might be thinking, “well...then why on earth did I have to go and learn the modes when all we’re going to be doing is grooving using these certain scale degrees?”

I feel that in most pop contexts, the modes come into play in the embellishments, or fills, which frequently occur at transitions in the tune (whether moving from one section of the song to another, or even at chord changes within a section). That’s when the bass line might incorporate some of the other tones, as a “dash of spice” before resuming the groove motif employing those meat & potatoes groove intervals.

I’d like to emphasize once again, though, that context is a huge factor; always use musical discernment and good judgement based upon the specific musical setting. Sometimes, the intent IS to create tension, or inject an “unsettled” edginess with the bass line...in which case use of some of the other scale degrees (or even other notes unrelated to diatonic harmony) would be effective. The value of those groove intervals is that they lend a sense of harmonic stability or “centeredness”, if you will, to the bass line.

Let’s dive in.

Major Chords

The meat & potatoes groove intervals for major chords (M, M7, M9, etc.) are the 1 (root), 5th and 6th. Typically, the 5th and 6th would be in the octave below the root (see note below regarding M7 and M9 chords).

Here’s an example; you should find these scale degrees to be a very familiar sound. Notice how the last bar incorporates the major 3rd as an embellishment and variation from the groove intervals.

Audio Example 1

Based upon Example 1, you’ll notice that using each of these groove intervals in nearly equal proportions can infuse a “Motown-esque” quality to the line (of course, the rest of the accompaniment on that track leaned a bit that way, as well!).

If that’s not the intent, the root can be used as the primary building block of the groove (perhaps with occasional use of the 5th, and even less frequent use of the 6th).

Here’s an example of that, with a different drum groove.

Audio Example 2

 

Notice how changing the register in which the various notes are played can broaden the palette and give a sense of motion while still maintaining the harmonic clarity and focus of the meat & potatoes groove intervals.Here’s another example in a different context. This bass line employs the root, 5th and 6th in nearly equal proportions, but the drum groove keeps it just this side of Motown.

Audio Example 3

 

For phrasing purposes and overall ease, I will usually opt for playing the 5th and 6th on the same string (usually the string immediately below my root note). See Figure 1.

FIGURE 1

 

Quick Note about M7 & M9: It may initially seem odd that these groove intervals involve the 6th instead of the 7th under these chords (the 7th is a chord tone, after all). However, an argument could also be made that a bass line which includes a major 7th as a primary component of a groove spends a lot of time reinforcing a note that is a half-step flat of the root...which might be more dissonance than you’re after. My suggestion, in those situations where the chord truly is being played as a M7 or M9 by the other instrumentalists, is to primarily reinforce the root and 5th, and occasionally use the 7th like a passing tone in your embellishments.

We’ll use these meat & potatoes groove intervals extensively for our bass lines in upcoming lessons.