Joe Dart, the bassist of Vulfpeck, is known for his precise, groovy, and melodic bass lines. A fine example of this is his bass solo from the track ‘Beastly’ on the Live at Madison Square Garden album, released at the end of 2019. His approach to soloing on this particular track offers valuable insights that can be applied to teaching improvisation in the classroom, especially in how to develop musical intuition, creativity, and ensemble collaboration. This is a fantastic live performance, and I recommend watching the full track with your class before considering the following.
Establish the groove and feel
Semiquaver pattern introduced [2.50]
Joe Dart’s solo is totally locked into the groove, emphasising the importance of rhythm and feel over complexity. He starts his solo by locking into a semiquaver pattern with accents on the beat, inviting the crowd to clap along and feel the groove. As the section develops, he introduces short chromatic fills at the end of the phrases to develop confidence as he moves away from root notes.
In the classroom, teaching students to focus on a simple pattern and groove helps build a strong foundation for improvisation. Students can learn that improvisation isn’t about playing as many notes as possible, but about creating a cohesive, rhythmic feel that complements the music. It also reminds students of the importance of repetition in building familiarity with improvised material.
Classroom application:
Start improvisation lessons by working on rhythm exercises and creating grooves, before diving into scales and modes.
Encourage students to listen and play along with drum loops or backing-tracks to internalise the groove and find their own pulse and feel.
Space matters
New groove introduced [3.23]
Dart is known for using space effectively in his bass lines and the groove that is introduced here exemplifies this. Rather than filling every moment with notes, he leaves space, allowing the music to breathe. This is a critical aspect of improvisation – knowing when not to play. He structures the groove with a two-phrase approach, with variations built into the fill at the end of the second phrase.
Classroom application:
Teach students to focus on simplicity and space in their improvisation. Have them play short, simple phrases and leave intentional gaps.
Use call-and-response exercises, where students alternate between playing and listening.
Melodic variation and motif development
Groove variation introduced [3.58]
Dart’s bass lines often function like melodies, using motifs and repetition to create coherence. At this point of the solo, he moves the groove down the octave and increases the number of fills and melodic variations that are built into the groove, both in the existing spaces and playing with the pattern itself. This is an important aspect of improvisation: developing an idea, rather than constantly inventing new material.
Classroom application:
Encourage students to develop motifs when they improvise, repeating and varying short phrases, but playing them in different ways; for example, adding notes, playing them at different octaves or taking notes away.
Have students listen to Joe Dart’s main pattern from the solo, and learn it on their own instruments, identifying repeated patterns and using it as inspiration for their own improvisation.
Ensemble interplay
Tempo increase and returning instruments [4.47]
In Vulfpeck’s music, Dart’s bass lines interact closely with the other instruments, showing the importance of listening and reacting to the musical context.
At this point in the track he increases the tempo of the groove (which is also a tip for improvisers), and one by one the rest of the band join him, starting with guitar, then drums and finally keys. The returning instruments lock into Dart’s groove, with their parts complementing what he has established.
Improvisation isn’t a solo endeavour, it’s a conversation between musicians, and this is well exemplified by this section of the solo.
Classroom application:
Promote group improvisation sessions in which students must react to each other’s ideas. For example, one student plays a groove while another improvises over it, and then they switch roles.
Have students focus on listening to the accompaniment and adjusting their improvisation to fit the harmonic and rhythmic context.
Economy of technique
Established groove becomes main groove for the band [5.41]
Dart’s technical proficiency is impressive, but he never overplays or uses technique for its own sake. During this section Dart balances the repeated groove, fully establishing it as a hook, alongside a variety of well-executed virtuosic fills. This happens alongside the tempo variations as the group builds up and then pulls back to the original pattern. This combination teaches students that virtuosity in improvisation comes from control and taste rather than speed or complexity.
Classroom application:
Challenge students to focus on a small set of notes or rhythmic patterns to encourage them to think creatively within constraints.
Focus on tempo, articulation, dynamics, and phrasing to teach students that musicality matters more than technical flashiness.
Individual musical expression
Tempo increase and return to the main groove at original tempo [5.52]
Dart has a unique voice on the bass, characterised by a tight sound, syncopation, and funky articulation. His approach to bass line construction is more than just the notes he plays; it includes his attack of the notes and execution of signature licks.
Although analysing Dart’s playing is a great place to start in teaching improvisation, it’s important to help students find their own musical voice rather than just copying others’.
Classroom application:
Give students freedom to explore different approaches to improvisation, whether it’s through tone, phrasing, or note choice.
Allow students to experiment with their own style after mastering basic concepts, encouraging them to incorporate personal influences into their playing.
By incorporating these principles, teachers can create a more holistic and intuitive approach to teaching improvisation, making it more accessible and therefore enjoyable for students at all levels.
Plus ‘Beastly’ makes for a great listening activity too!
