The bass guitar, more than any other instrument, is at its best when tightly aligned with the drums. Together, the bassist and drummer develop the powerful grooves that drive the song by constantly listening and reacting to each other. Here are ten classic bass-and-drum combinations (sorted alphabetically by the bass player’s last name) that have enhanced a multitude of songs.

You want your left hand to cover one fret per finger without causing any undue stress. By using one finger per fret on your bass guitar, you set up your hand to execute almost any musical figure without shifting, or moving your hand position to reach a note. (A figure is an independent and self-contained musical phrase, sort of like a sentence when you're speaking.

Two of the most common approaches to a killer bass line are the straight and syncopated rhythmic styles. In both cases, the harmony of the bass part stays pretty much on one note, usually the root. Where they differ is in their rhythm. In straight rhythm, the notes are played on the beat; in syncopated, some of them are played between the beats.

Blending a bass line means choosing the notes you play so they support the song perfectly without being overly noticeable. It’s almost like the hidden beams in the ceiling of a modern house — you don’t see them, but if they weren’t there, the roof would collapse. A bold groove, on the other hand, has a much more obvious role in a tune.

The six-note blues scale is one of the most commonly used scales in bass guitar soloing — and with good reason: It’s comfortable to play, it’s easy to move from chord to chord, and it sounds great. The blues scale is a one-size-fits-all scale, no matter what the chord tonality (major, minor, or dominant). However, as with those one-size-fits-all pieces of clothing, the blues scale doesn’t always give you a perfect fit; you may have to move a note or two by a fret.

Bass guitarists can really mix it up with funk shuffle grooves. Funk shuffle (also called shuffle funk) is a hybrid groove style, which means that it combines several elements of other styles — funk, blues, and jazz. When funk, which normally uses straight sixteenth notes, is combined with blues and jazz, which use triplets, the resulting combination is a lopsided sixteenth-note groove (a combination of long and short notes) — a very cool combination.

Luckily for the bass world, Paul McCartney was one of the lead vocalists in The Beatles, and he learned to take the entire song — melody, lyrics, and all — into consideration. Most people want to hear the melody and lyrics of a song; they don’t want the bass in the way. Sir Paul developed an uncanny feel for when to get busy on bass and when to just support the vocals.

Double your pleasure when you double your bass line (musical phrase) with someone else, usually the guitar player or the keyboardist. Unison is very popular in hard rock and progressive rock styles, but it was also used much earlier by Paul McCartney in tunes such as “Day Tripper” (where he doubles the guitar line) and the more subtle “Drive my Car” (he doubles the guitar on that one as well).

Hip-hop entered the music world in the 1990s. This style features a fat (“phat”) bass groove that sounds more laid-back than some of the other funk styles. Hip-hop is all about the message; the bass groove provides an important but unobtrusive accompaniment to the vocals. Although the bass line isn’t busy, it’s well timed and repetitive.