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Check out Bullmark. These cats are some serious old-skool funkateers. Well, THEY aren't old school, but their music IS. Like it's straight from the 70s heyday.

Fronted by bass player Orion Salazar, this group was a sessions group specifically put together to record the soundtrack for Activision's "Interstate 76" video game.

They include all the old school effects and even recorded the music on vintage equipment.

It is a MUST.
Quote by TrabenBassist22
Ants Marching - Dave Matthews Band (It's a fun song to play)

Now that I think about it, a lot of the bass work from DMB goes unnoticed but the basslines are pretty good. Even if they aren't that complicated, they fit the music perfectly.


I'd have to agree with you on that. Even though I'm not personally much of a fan of how he interprets the groove, he DOES interpret the groove successfully. It adds to the unique *feel* that DMB has.
Quote by pinkfloyd1616
those are sick man i love book 'em bootsy. Thanks


Thanks.
I want a guitarist that knows theory. Sorry, but WAY too many people use the "it's just going to get in my way or keep me uncreative" type of excuse to be lazy. And most guitarists that play really well by ear but don't know music have a VERY HARD TIME trying to do what you EXPLAIN unless you can actually PLAY it for them. I'm not knocking musicians with good ears. They do come in helpful. But I really don't want to deal with someone who you have to show EVERY NOTE in the dorian mode when you could just name it or say, "Oh yeah, it's got a b3 and a b7." Done.

One last thought for those who defend being lazy and CHOOSING NOT to learn theory: Just because you KNOW it doesn't mean you have to USE it. It's simply a tool that, in the end, actually makes things EASIER - especially when communicating ideas.
They are equally as important. Besides, choice of notes and chords aren't even very high on the scale (no pun intended) of what should constitute a kick-ass solo.

1) Melody - Play what people will remember FOREVER
2) Passion - Play EVERY note as though it were your last.... well, without being cheesy
3) Groove - most overlooked aspect in all of guitar soloing. Listen to Warren Haynes or SRV for a good representation of groove in soloing.

Granted, even though chord choice and note choice aren't #1 on the list, they ARE important. But if I had to choose something more important, it would be note choice. And if you are improvising, the chords should already be there.
Alright.... go HERE .

Now, play the two songs Whiskey Reaper and Bad Girl.

Also, go HERE and play Book 'em Bootsy.

Those are the ones I have recorded.
Yeah, I notice SO MANY mistakes while I play too. I seriously wish I didn't. It almost makes playing live unenjoyable for me. I guess that's why I like recording so much. You can just fix the mistakes and listen to something you KNOW will be good.

But I don't think you're too difficult on yourself. A healthy, humble, logical, sense of self-criticism WILL always help you play more effectively.
Yep. I'd agree with all the Ibanez people here. I've been playing my 6 for almost 6 years now and love it. I bought it brand new for $450 (layaway, of course!). And the battery life in the actives is unheard of. The feel, the sound, the playability - everything is as it needs to be.

I would highly recommend saving a bit extra and just getting an Ibanez. You won't regret it.
Tommy the Cat
Something
Funk 49

I learned backwards. Slapping is what actually got me into playing bass. So, I slapped first, then learned fingerstyle. My initial technique came from Tony Oppenheim's book "Slap it!"
Rocket Man, Don't let the Sun Go down on Me - Elton John
I know this is all cookie-cutter stuff, but ol' boy flat nailed it 100% all the time. All his lines are SO tasty and add, in an almost immeasurable sense, more appeal to Elton's earlier tunes.

Pretending, Change The World - Clapton
Nathan East's work has always been exemplary. But on Change the World, he actually recorded first, then everyone else was added. It's just tasty with a bit of attitude thrown in and mixed up for good measure. As for Pretending, he just lays it down and changes up to a more melodic line in the chorus. Good stuff.

Spanish Castle Magic - Hendrix
What can I say? Hendrix on a fat Hagstrom 8 doubling the guitar licks with a piano clanging away (with the bassline) in the right stereo field during the chorus. Sounds HUGE.

Love Fool - The Cardigans
Um, it was kinda like what would happen if you took Maroon 5, killed the lead singer, replaced him with a bubble-gum cute girl, and exploded into the nearest candy store. But the bassist uses his (rather antiquated) tone and the groove to a fricking fault. The bass made me listen, I swear. lol

Sledge Hammer - Peter Gabriel
OMG! This was pure, fretless, octave, percussive, funk .... straight up simple and propelled by sheer insane attitude. Tony Levin played every note with perversion. Lord help us all.

Diamonds on the Souls of her Shoes - Paul Simon
I must admit, I have a soft spot for Bakithi Khumalo as he was the one who first inspired me to rip the frets out of my perfectly good fretted bass. And yeah, THIS song is what did it. The great thing about BK, is that he used a cheap Washburn he had bought at a local music shop (or something along those lines...) for all those bouncy, fretless bass lines on the Graceland album. He showed the world just exactly how you could play extremely stylistically but with a solid groove.

Those are my picks for now.
I have carpal tunnel. Sometimes when I move my wrist just right, my whole hand will shoot with pain and I won't be able to move it for hours. One time at a gig, that happened. I could only use my first finger on my fretting hand. Then the idiot guitarist called a solo for me. Funny thing was, he was paying so little attention, he didn't even know I was using one finger.
Quote by Guitar92player
thanks, you guys have been great help!!

so basically I should learn those chords, play what seems funky and not worry about musical sense.

I know how to play 9, 7, 13, and #9 chords a bit now.


The next thing I want to get down is soloing in a funky style, haha.


Just don't neglect those m7 and m6 chords

As far as solo interpretation goes, really the best way I've found is to just play blues licks (that fit that chord) with loads of attitude.

Something else you can do when learning to solo the funk is (oh.... you're gonna hate me for this) take a really good Nashville chicken-picker's solo, replace the twang with attitude, infuse some blues, and play it over a funky groove. Bam! Instant funk solo. lol

One more thing.... I once heard the bass player from Soul Coughing talk about how the funk always has something insane in it. Granted, they weren't the best or funkiest, but ol' boy's got a point. Every once in a while you gotta grab some notes that only make sense to the insanity. Just listen to Geddy Lee's bass fill starting at 3:27 of "Where's my Thing" HERE Notice how the last note is wickedly out of key and out of tune. And yet, it fits so well. That's what I'm talking about.
Quote by Sean0913
True funk chords seem to be centered around dominant and extended and altered dominant voicings. Its not just the chords, its also the rhythms, which tend to be 32nds and syncopated. Learn also key grips where only the note you want played is played and the other strings are muted entirely while playing across all the strings for a nice scratch rhythm effect.

Best,

Sean


Agreed. But I'd say most funk rhythms are based around 16ths and not 32nds. Most people simply won't subdivide single beats into 8 parts. >99% of all funk you hear can be expressed rhythmically in 16ths. And if it IS 32nds, it's much easier to double-time the tempo to make it "feel" like 16ths.
Quote by Guitar92player
Okay, I have been playing for about 4 years, I know many basic chords, and I know some the standard chords that belong to different keys. (ex. I know the chords C, Dm, Em, F, G, Am, Bdim can all be played in the key of C)

But I want to start playing Funk (my favorite band is Red Hot Chili Peppers), and I don't know which chords can all go together.


Obviously, you should go with what sounds funky rather than what makes musical sense. BUT, that doesn't mean there aren't a few things to be said along the way. I will break it down for you the best way I know how:

1)
Learn all your basic 7, 9, 7#9, m7, m6, and 13 positions. And no worries, either. You don't have to learn all the fat sounding 5 note positions. Simply learn the abbreviated chords that have only 3 or 4 notes. When in doubt, just include the 3rd and the extensions. You can play a nice sounding 13 with just the 7, 3, and 13. You can also play a nice 7#9 voiced as 3, 7, #9. Let the bass do the root work.
For instance: G7 = B, F; Gm7 = G, Gb, F; Gm6 = Bb, E; G7#9 = B, F, A#; G13 = F, B, E; G9 = B, F, A And God forbid: DON'T USE OPEN CHORDS!!! lol.... or at least try not to.

2) Start out your progression experimentation by taking a minor pentatonic scale, and putting a 7th or a 9th chord to each scale degree. Then replace the V chord with a 7#9. So if you were in the key of G, you'd use G7, Bb7, C7, F7, and D7#9. This is an early and easy approach used a lot in the beginning. Many people like Steve Cropper, Bootsy, Stevie Wonder, and RHCP have used this "framework." Think Soul Man.

3) When in doubt, try either a 7#9 or a m6. I know this sounds stupid as hell, but these chords just work in funk. And consequently, they both have a nice tritone personality to them. The m6 can carry a song as the tonic and be super funky. It is based on the dorian scale. Remember the music for En Vogue's "Never Gonna Get It" or Herbie Hancock's Chameleon?? Yeah, that was some dorian funk. ---The 7#9 (also labeled as "the Hendrix chord") works so well for a few reasons: One, it has a tritone AND a minor 2nd interval. It screams nasty. Secondly, if you take a minor scale and note that you will use a b7 in the pentatonic, it lets more of a pentatonic "feel" prevail when you throw in the V chord since technically, the V chord shouldn't have a b3 (which is the b7 in terms of the tonic). Finally, since it has the tonal equivalent of BOTH minor and major thirds, you have TONS of playing options with it.

4) As far as putting the chords together, think traditionally. For instance, start out with an E, A, B7 progression. Now, change it to Em7, A9, B7#9. See what I mean? Or take A, G, D and change it to A9, G9, Dm7. Then you can start getting freaky and try some things like take a C, Am, F, G progression and change it to C7#9, Am6, F9, G9.

Just biggest thing is just to play around. Use a particular voicing or progression that you really like and simply build on it. Try chromatic chord changes too. Hell, Chopin used to do that in classical. And Stevie did it in Superstition. And don't be afraid to "hang" on a chord or groove you like just because it may "sit" there forever. Junior Walker let Shotgun ride on one chord through the whole song. No changes! (Well, he does go I, I, IV, I in the chorus, but it's more a passing chord than an actual change) Listen to Joe Slam and The Spaceship from Harry Connick Jr. He was backed by various members of the Meters on that one. And it rides on one chord for quite a while.

Hope that helps.