In Week 1, students will explore the expressive power of articulation and rhythmic feel in bass playing. We will begin by introducing the concepts of long-tone and short-tone articulation, focusing on how note length and separation can shape the character of a groove. Through performance exercises, students will apply both articulation styles to a variety of eighth-note basslines, developing control and stylistic awareness. The unit will then transition into an introduction to the eighth-note shuffle (swing) feel and the 12/8 subdivision. Students will learn the counting system and rhythmic placement that create the unique lilt of shuffle and swing-based grooves. Through explanation, demonstration, and guided practice, students will apply these concepts to standard basslines, strengthening their ability to lock into rhythmic subdivisions while maintaining steady time and feel.
This unit explores the power and versatility of the 16th note subdivision in groove-based bass playing. Students will expand their rhythmic vocabulary by learning to perform, apply, and internalize a variety of 16th note feels, including straight, syncopated, and swung patterns. Through guided exercises and demonstrations, students will practice building grooves that highlight the precision, intensity, and expressive potential of the 16th note subdivision. We will also examine the role of syncopation in shaping rhythmic tension and release, and how shifting accents within the 16th note grid can create grooves that feel both dynamic and fluid. Fingerstyle and slap techniques will be applied to these patterns, giving students the opportunity to compare tone, attack, and articulation in different musical contexts. Finally, the unit introduces the 16th note swing (or shuffle) feel, along with its counting system, to help students recognize and reproduce subtle rhythmic variations used in
This unit explores foundational bass techniques in both Latin and jazz-inspired styles. Students will learn to craft grooves that are rhythmically solid, harmonically clear, and stylistically authentic. The unit is divided into two parts: Latin Bass styles and Walking Bass approaches. Part I: Latin Bass Styles Latin music encompasses diverse styles from Afro-Cuban, Brazilian, Caribbean, and South American traditions. In this section, students will: Bossa Nova & Samba – Compare rhythmic similarities and differences between bossa nova and samba, focusing on cut time, note length, tied anticipations, and missing downbeats. Introduce the surdo rhythm and partido alto as core rhythmic foundations. Subdivision & Syncopation – Practice counting subdivisions (emphasizing eighth notes) to internalize syncopated patterns common in Latin grooves. Mambo – Explore mambo’s origins, its rhythmic layers, and connections to Afro-Cuban and danzón traditions. Learn how basslines adapt across Latin su
This unit introduces students to the world of odd time signatures, beginning with 5/4 and expanding into 6/4, 6/8, and 7/4/7/8. While 4/4 is the most common meter in Western music, odd meters provide fresh rhythmic possibilities and are an essential tool for bassists seeking versatility in jazz, rock, fusion, and world music. We will begin with 5/4, exploring why it is considered an "odd" meter and how to internalize its unique feel. While initially unfamiliar, repeated practice helps players naturally divide beats and develop confidence in odd groupings. Next, we will compare 6/4 and 6/8, examining the difference between simple meter (6/4, where each beat divides into two eighth notes) and compound meter (6/8, where each beat divides into three eighth notes). Students will learn how to interpret and perform both meters, connecting them to concepts introduced earlier such as the 12/8 shuffle. From there, we move into septuple meter (7/4 and 7/8). Students will study its roots in Europe.
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