ビートの後ろで演奏する方法(By Scott's Bass Lessons)

Scott's Bass Lessonsによる「ビートの後ろで演奏する方法」を翻訳しました。




There is this thought pervasive in music or at least for sure in the bass player community that like the baddest cats play behind and I smile because I don't ever actually really say cats. Um, but there's this thing, right? I mean, you've got to feel that too, we're like, "Oh man, it's cool to play behind." You don't hear the same thing about playing ahead. Like, "Oh man, everyone's playing ahead and it feels so good." Because it doesn't. Because it doesn't, um, but I'm curious, like from a drummer perspective, if we can kind of dig into what it means to play behind. If we both are playing behind, what are we playing behind? Two, do I just play behind? Do you play behind? How far behind? Yep. Do you play to make it cool? Is it always cool? A lot of questions, but that's why Steve Gould is here to answer the questions.

音楽界または少なくともベーシストのコミュニティには、最も凄い奴らは後ろで演奏するという考え方が広がっています。私は実際にはあまり「奴ら」とは言わないので微笑んでしまいますが、そういうものがあるんですよね。つまり、「後ろで演奏するのはかっこいい」という感覚があるわけです。前に演奏することについて同じような話は聞きません。「みんな前に演奏していて気持ちいい!」とか言わないですよね。気持ちいいわけじゃないからです。ただ、私は興味があってドラマーの視点から、どういう意味で後ろで演奏するのかを掘り下げてみたいと思っています。もし私たちがどちらも後ろで演奏しているとしたら、何に対して遅れて演奏しているのか。そして、私はただ後ろで演奏するだけでいいのか?あなたは後ろで演奏するのか?どのくらい遅れて演奏するのか?かっこよくするために演奏するのか?それは常にかっこいいのか?たくさんの質問がありますが、それを答えるためにSteve Gouldがここにいるわけです。

Oh, I'm going to do my best. Yeah, um, the behind the beat thing, it works a couple ways. One of them would be like I choose one part of my groove to play behind where that side stick is a little bit late, yeah, compared to where the hi-hat was, right? And you can hear both, and that's what lets you know that the side stick was laid. Another thing that you hear a lot of, like the Questlove, they call it the Philly sound, would be taking the note that's supposed to go on the and, the halfway point, and playing it intentionally late, which I'm not great at, that's hard to do, right? And it feels kind of weird, yes. In recent years, maybe in the past 10 years, that's become kind of popular and sought after, right? That's me playing all my quarter notes on beat and my and counts behind the b one and two and three and, but if I were to play everything behind the beat, yes, it wouldn't sound behind the beat, it would just sound like the new beat. Side note, slowing down, decelerating, yep, it adds weight, sure, and that's something to pay attention to. That's why a feels so heavy.


[Music] 2:46~

I'm able to give so much drama to that last note, yes because of the decelerating tempo. Yes, accelerating tempo does the opposite. It adds energy, yes not weight. Energy, you have one or the other. So Stuart Copeland playing in the Police and kind of rushing, yeah, or all the guys in Rage Against Machine like when the drop finally gets there, yep, and they're off to the races. Yep, and it just brings so much energy. Whereas oftentimes I would hear Zeppelin like Bottom plays notes a little bit later than I expect them to, and that makes it feel super heavy, yeah, right. So that's another thing that I'm thinking about when it comes to playing behind the beater in front of the beat. I'm thinking about when I want to infuse the song with energy, yeah, or infuse the moment with weight. Ooh, that's great. But that's a totally different thing than picking one part of the beat and intentionally playing it behind every time. Can we demonstrate what it feels like if you're on and then the bass is behind? Let's do it.

演奏のテンポが遅くなることで、最後の音にドラマティックな表現を与えることができます。逆に、テンポが速くなると、エネルギーが増えますが、重みが加わるわけではありません。エネルギーと重み、どちらかが必要です。例えば、Stuart CopelandがPoliceで急いで演奏しているように、またはRage Against Machineのメンバーが曲の盛り上がりで加速するような演奏は、多くのエネルギーを生み出します。一方、Led ZeppelinではBottomが予想よりも少し遅れてノートを演奏することがあり、それが曲に重みを与えることができます。だから、演奏がビートの前後どちらになるかを考えるとき、曲にエネルギーを与えたいときと、重みを与えたいときとで使い分けます。ただし、単にビートの一部を故意に遅らせるだけでは、これらとはまた違った効果が生まれます。では、あなたがandのカウントを刻んでいるときに、ベースが後ろで演奏するとどうなるか、実演してみましょう。

Right, I'm going to play like a drum machine. I'm not going to listen to you, got it, which is actually I'm saying that because it's hard for me to do this, sure. As soon as I hear you get behind, I want to go, you want a few, yeah, you want to start to pull back. Well, so first what I'm going to do, I'm going to play four bars on to the best of my ability, and then I'm going to lean back, and we'll see how that feels. We'll see what we notice. All right, here we go. Yeah.


[Music] 4:17~

Yeah, and I feel like that second time, the first time was more dramatic to sort of illustrate the point, right. But for me, being a tiny bit behind the drums, just ever so slightly, I feel like lets the weight of the drums and the weight of the transients happen. In fact, it's really like the way I play the bass is like this too. So instead of playing…


There are people that play that way where it's a percussive hit, right


[Music] 5:26~

It almost sounds like a slap or a pick. I mean, Getty Lee from Rush, right? It has this percussive thing, and I hear a lot of bass players, and I don't particularly like that sound. I feel like it also robs the drums of their transient. I think that unless it is perfectly bull's-eye on, starts to get in the way of syncopation, and I don't actually hear the snap of the kick drum and the like crack of the snare as much. Let me do that with you. I'm gonna smack it.

ほとんどスラップまたはピックのように聞こえますね。RushのGetty Leeのように、パーカッシブなものがありますが、多くのベーシストがそのように演奏しているのを聞きますが、私は特にその音が好きではありません。それはドラムのトランジェントを奪うように感じられ、完璧に合わない場合は、シンコペーションを妨げることがあると思います。キックドラムのスナップやスネアのクラックがあまり聞こえなくなります。あなたと一緒にやってみましょう。私がスマックしてみます。

[Music] 6:04~

And what it feels to me in that is like I'm trying to lead you. I'm not actually very good at playing that way. I feel like I'm leaning on top. Does it feel that way to you?


Yeah, yeah. Like when I'm doing that, I watch your energy and you're like, "Okay, I'm tolerating it." Exactly. You're like, "All right, got it. That's how this is gonna be, I suppose." That's how that's like your body language and face. It's flat.


But if I'm playing where I'm trying to let the transient of the drum come through, I feel like it's a tiny bit backside and then it allows Steve to lead.


We do one more time. Yeah, three…

[Music] 6:49~

Oh, it feels so much better to me. Yeah, I think so too. And I think if you looked at that on a grid, what you would discover is that even though I feel like I'm playing on my… My aesthetic is I like the sound of the bass to be slightly behind the drums because what I envision is the kick drum or the snare drum, the transients of the drum triggering the bass note. I don't want to hear boom, your note grows out from my notes. Yes, we're like that. That is the producer like that is the thing that lets the bass note go. It's how I thought about drums as a little kid. The toms to me, I thought that that was the bass and that the percussion was first.




It makes a lot of sense to me as to why I like the bass player to be a little bit behind, yeah, instead of on top. But I think the point you were making initially or at least the thing that really resonated with me is the idea that we can't both be behind. Yes, I have to be on, so that you can be this secondary like your notes grow out from my notes. Yes, look at this guy bringing it back. That is so true. I mean, because if we are both behind, what does that sound like? I don't know. It sounds like they're slowing down. Yeah, I'm just getting slower. I'm trying to, it's like just like a race to the bottom, right?



Right, yes, which I guess can feel cool, but somebody's gotta take the reins for sure. And so in this, if you're thinking as a bass player about how to play, how to manipulate the beat, whether to play dead on, a little bit behind, a little in front, I recommend that you just do it. An action step for you would be to put it into a DAW. Like pull up Pro Tools, Garage Band, whatever you have, and see how it feels to you. See what your natural tendency is when you're playing on… Play eight bars of one note of an eighth note bounce. And so what I'm doing to do that bounce is I'm muting slightly with my left hand and then I'm playing, and I'm lifting up slightly with this hand, but you don't hear that. You don't hear the of it lifting up because I'm muting with this hand and I'm playing short long, short long, short long, short long. And if you do that, you will immediately see your tendency in a DAW, insta-click. You'll go, "Oh man, the second note is always a little on top," or "my first note is rushing every time." You'll see that, and then you'll sort of start to be able to go, "Okay, I want to try to put all of these in the same place. I want to try to lean them all back or want to try to lean them all a little bit forward."

そうですね。それはクールに感じるかもしれませんが、確かに誰かが主導権を取らなければなりません。ベーシストとして、ビートを操作する方法、デッドオンに演奏するか、少し遅れて演奏するか、少し先行して演奏するかを考える場合、やってみることをお勧めします。あなたにとってどう感じるか、自然な傾向は何かをDAWに入れてみてください。Pro Tools、Garage Bandなどを開いて、8分音符のバウンスの1つの音符を8小節演奏してみてください。私がそのバウンスをするためにやっていることは、左手で少しミュートして、右手でショートロング、ショートロング、ショートロング、ショートロングを演奏していますが、それは聞こえません。この手で持ち上げる動きをミュートして、ショートロング、ショートロング、ショートロング、ショートロングを演奏しています。それをやれば、DAWで自分の傾向がすぐにわかります。あなたは、「ああ、2番目の音符はいつも少し先行している」とか、「私の最初の音符は毎回急いでいる」とか、それを見ることができます。そして、すべての音符を同じ場所に置こうとしたり、すべてを少し後ろに傾けたり、少し前に傾けたりすることを試みることができます。

I really like what you're saying because I think you're pointing out that actual control over playing behind the beat or playing in front of the beat with intention it comes from just the presence of precision at all. Yes, like if you don't know how to hit the dead center of the beat, then you're not gonna be able to control your ability to play behind the beat or in front of the beat.


That's true. That's that Michael Bland quote. Yes, it's not cool to play behind the beat. Aim for the middle, right? Learn how to hit the middle, and then once you get that ability, you can start to choose to play behind the beat or in front of the beat when you want that, yeah, when you want more energy or when you're, so true, more weight. Michael Bland is a drummer from Minneapolis that Steve and I both admire, and he has this thing about like, "Ah, don't worry about heading behind. Aim for the center, and then what will happen is you'll have a tendency, and then if you embrace that tendency, if it's a musical tendency that you really like, he calls it your feel is like your face, yeah, your musical tendency as far as the timing is as signature to you as the shape of your face. And as soon as I start listening to you play with your own tendency, yeah, I can tell it's Ian, even though I can't see Ian's face behind the bass guitar.


I'm like, "Oh, that's Ian, right?" Like everybody knows the way Matt Chamberlain as a drummer feels, the way Steve Jordan as a drummer feels, and a lot of that feel has to do with the timing tendencies that they have. But they don't think they're playing tendencies. I think those guys just are hitting what they think is the middle. Yeah, they're doing what they think sounds good.


Yeah, right, that's a good way to say that. They're like, "Yeah, this feels and sounds great," and that comes from this respect of precision. Then you can't be precise. You can't be 100% precise, not as a human, of course. That's why we have programming. So then you'll have this fluctuation, and to really hone in on what that fluctuation is for you and what you like about it is very cool.


Hey, thanks so much for checking out this lesson, guys. Obviously, huge shout out to Ian and Steve for just bringing the goods and being awesome every single time. Now, if you enjoyed this lesson and you want to watch the rest of the course, which is awesome, by the way, um, or if you're a member of scottsbasslessons.com, you can log in today and get started checking that course out. And if you're not a member, all you need to do is go to scotsbasslessons.com, and you can grab a 14-day free trial to check this course out and the 100 plus other courses that we've got within our course library as well. Now, as always, take it easy, and I'll see you in the shed.



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