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Notes on Early Funk (Track 6):


• The strength in this groove comes from the dominant 7th sound and the intensity of the
performance.
• The syncopated pattern of the kick drum avoids beats 2 and 3 of the measure, giving the
track a funky feel.
• The bassline counter-balances the strong backbeat in the guitar and snare drum, playing
the root on beat 1 and the 5th on beat 3. While this approach is similar to the samba
bassline, there was probably no conscious intent for the bassline to display a Brazilian
influence.

track 7
Seventies Funk
in the James Brown Style
q = 100
D 7. . D7
œ œ. œ . œ. œœ. .. œœ. œœ .. œœ.
Guitar & 44 .. ≈ œœ .. œœ # œœœ ... œœœ ‰ œ œœ ≈ œJ . œ # œœ .. œœ ‰ œ œœ ’ ’ ’ ’ ’ ’ ’ ’ ..
Simile
J # # œœ œ # # œœ œ
F
D 7 >œ >œ >œ ^ >œ 2
Bass
? 44 .. œ œ œ ≈ œ^ œ œ œ œ œœ œœ œ œ œ œ œ « ..
œ
F % > % >+ % >+ % >+
y y yy y y y y y y yy y y y y
+ +
Drums / 44 .. œ œ œŒ œ ‰ œ œ œ‰ œ œ œ œ œŒ œ ‰ œ œ œ‰ œ œ ’ ’ ’ ’ ’ ’ ’ ’ ..
J J J J Simile
F 1 2 3 4

Notes on Seventies Funk (Track 7):


• This groove is dominated by a swing sixteenth-note groove.
• As in all funk grooves, the syncopations are strongly felt because the non-syncopated
rhythms provide a rhythmic anchor.
• The kick drum and snare patterns are syncopated, while the steady eighth-notes in the
high hat provide a constant, non-syncopated background.
• The “one” (the downbeat of the measure) in the bass and kick drum is the re-occurring
focus of each measure. The absence of the beat 3 in the kick drum helps the groove float
through the measure to again land on the “one” of the following measure.
• The focus of the snare is the backbeats on 2 and 4, embellished by ghosted notes
(reminiscent of New Orleans drum styles).
• The guitar and bass parts accents are both on and off the beat, sometimes syncing up
and playing the same accent (beat 2, the last sixteenth-note of beat 3, and the “and” of
beat 4), and other times playing on different beats. The interplay between the bass and
drum parts is similar.

Essential Grooves

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