Let’s explore how you can develop an iron-clad sense of timing — the single most essential ingredient of any killer bass part. — Let’s explore how you can develop an iron-clad sense of timing — the single most essential ingredient of any killer bass part.
The thing that sets up and coming, or even good bassists from truly exceptional ones is timing. Timing is the lynchpin that keeps a rhythm section together, and more importantly, it’s what gains you the respect of drummers, other musicians and producers. That means hitting every single note exactly where you mean to, not just some of them, and certainly not just the quick and showy runs. I mean, for sure, it’s great to be able to do some of those too, but being able to nail the timing, well that’s what will truly set you apart from the rest. And it’s not just about being spot on, it’s about being so good that you can play a little bit ahead of, or behind, the beat in a musical way. A great rhythm section is like the engine of the train, and it makes everyone feel safe and secure and like they can play their best.
This all starts by practicing slowly without all the bling and doing the long tones and scales, but with this twist: You are also practicing your timing, and you are using a metronome. You set the metronome to a tempo that is slow enough for you to hear whether you are ahead of or behind the beat, and then you practice playing on it. Then you increase the tempo and play on it some more. This trains your body to play in time. Then, you practice playing with the metronome while counting sixteenth notes in your head, even if you are only playing quarter notes. This will train you to hear sixteenth notes and to place ghost notes, syncopations and accents accurately. If you do this kind of practicing consistently, you will develop your timing to the point where you don’t have to think about it anymore.
Other than technical practice, applying timing in a musical setting will always improve your timing faster than just by working on timing alone. Trying to play along to a famous recording will help you learn to play with a natural feel, not just with the metronome. You’ll learn how a bit of swing or push can go a long way towards a good groove without losing timing. Trying to play like different drummers will give you a wider library to draw from, and will help you learn to play with a good time in all musical genres and at all tempos. James Brown’s timing is known for being very much in the pocket, John Bonham was notorious for playing behind the beat, and Tony Allen is famous for his timing playing loose but tight in Afrobeat. Listening to recordings of yourself practicing will help you to notice if you are playing ahead or behind the beat, something you can’t feel while you’re in the act of playing. This will help you to focus your practice time and improve your timing faster.
But the physical aspects of good timing cannot be underestimated. If the hands, arms or shoulders are tight, then the music is either lagging or rushing because the muscles are working against each other. A technique that is at once relaxed and controlled (i.e. fingers that move freely with the least amount of effort necessary to produce the desired effect) enables the physical part of us to follow what the brain is intending rhythmically. And, of course, breathing with the phrase, and sitting or standing correctly help prevent tiny rushing that can occur when phrases are longer. All these physical issues mean that one does not get so physically tired that the timing slips and slides around, particularly when practicing for extended periods. And if the body is comfortable and working well, then the brain doesn’t have to be concerned with “cleaning up” after the physical errors and the timing feels free, even when one is performing.
It is for this reason that great timing is the subtle art of bass playing. It is what makes technique, tone, creativity, groove, and all the rest work. Great timing is also what makes other musicians want to play with you. They know that they can take risks and push the envelope with their own playing because they have a partner in rhythm section crime who will always be holding the center of the pocket down for them. Having great timing will make you the go to guy for gigging. It’s like a subtle badge of honor that you carry with you. If you’re willing to put in the time it takes to learn great timing, you will have it as your calling card for the rest of your life.