Theory
The week's finish line. Today you complete a one- or two-string single-note riff over a backing track to make a line that locks with the bass.
The real power of single-note funk comes from its relationship with the bass. There are two main ways. One is unison — playing the same line as the bass on top to make it twice as thick and solid. The other is call and response — the bass plays a bar, and your guitar fills the gaps or the tail, trading like a conversation. Today, listen well to the backing bass and find where your line sits right on top.
Mix in yesterday's ghosts and a few notes become a full riff. The line's clear notes + ghosts filling the gaps + the lock with the bass — when these three overlap, one guitar proudly takes a pillar of the rhythm section.
Looking back on the week, you've learned to make a groove without chords. If a chord is color, a single note is a line. Now you can use both color and line. Next week you add note length (staccato) and shuffle to widen expression further. If today's riff locks tightly with the backing bass, this week is a big success. Be sure to record that line. Able now to carry a tune on one line without chords, you've come a long way. All that's left is to give that line expression.
See it
A finished one- or two-string single-note riff with ghosts mixed in. Find where it locks with the backing bass.
E note box (review). Build the riff from these notes. Unison with the bass, or fill the gaps for call and response.
Example 1 — single-note riff A (2 bars). A line rising and falling E-G-A-B with ghosts mixed in. Clear like a bass-line.
▶ BPM 76. Over a backing 4×+. Feel your line overlap or converse with the bass.
Example 2 — single-note riff B (2 bars). A variation with different note placement. Once easy, change notes into your own riff.
▶ BPM 76. Listen to the bass and fill above/between it to complete and record your own line.
Today's practice
0–10 min · Warm-up BPM 60–70. Lightly review this week's lines (5th/4th strings) and ghosts. Check the mute holds.
10–20 min · Brain training (today's target = locking with the bass) Listen well to the backing bass line first. Decide whether to overlap it (unison) or fill the gaps (call and response).
20–40 min · Real groove (Examples 1·2 / BPM 76) Play Examples 1·2 over a backing, then change notes into your own riff. Finding where it locks with the bass is the key.
40–50 min · Record & reflect (recommended) Record your own riff and check: is only one string clear / do ghosts fill the gaps / does it lock with the bass / is there no noise?
Done when: you can complete and record your own line — a one/two-string single-note riff with ghosts — that locks with the backing bass. (Week 6 complete!)
- Playing apart from the bass. Not listening to the bass makes the line float. Hear the bass first, then sit on top.
- Too many notes. Single notes, too, are more refined rationed. Overlap or converse with the bass, leaving space.
- String noise. As the riff speeds up the mute loosens. Cover unused strings to the end.
- Skipping the recording. Whether it locks with the bass — the recording is the most honest. Listen back.