Forums - Theory / composition / technique
Subject: Bass Theory
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Original Message 1/16 13-Jun-02 @ 10:18 AM - Bass Theory
To only use the 1st, 5th and octave of the chord. Then to add extra interest, you accent using the 4th and 7th. I've been told never to hang on the 3rd for longer than an 8th note every 4 bars. Apparently this can make the bass sound off-key.
Have any of the more skilled musicans got any comments on this way of working?
Message 2/16 13-Jun-02 @ 12:27 PM - RE: Bass Theory
think of the bass like another drum, the notes come second, but when they do come, 3rds & 5ths as a 'rule' is complete rubbish, ANY notes will do if they work with the other parts.
Message 3/16 13-Jun-02 @ 12:38 PM - RE: Bass Theory
Message 4/16 13-Jun-02 @ 12:50 PM - RE: Bass Theory
Message 5/16 13-Jun-02 @ 12:52 PM - RE: Bass Theory
Message 6/16 13-Jun-02 @ 02:12 PM - RE: Bass Theory
Message 7/16 13-Jun-02 @ 03:15 PM - RE: Bass Theory
You need two things to be a great musician.. a good ear for harmony & melody, but especialy relative harmony, and you MUST be able to play drums or dance well
any RULES that exist are obvious, you KNOW when a discordant note clashes with even ONE note ina chord played by another supporting instrument IF you have a good ear... but for example i play a few fun gigs with a mates band and we started one rehearsal with the one guitarist playing in a different key to the other and he didnt notice until the end! ... (well, until I stopped it going "no no no!!" after about two verses)
the rest is intuition and your ear.... and experience in some respects although if you've 'got it' then that counts less because VERY effective bass can come from relatively simple playing.. tons of notes & scales, modes & technique doesnt make a good bassline. You have to treat the bass AS A BASS, too may players treat it as simply a guitar played an octave lower. The bassist in effect can change the whole groove/feel of a track by the subtlest things, BUT then to do that you also need a drummer who's strong enuff himself to NOT follow the bassist but stick to HIS groove. With weak drummers you come in with an offbeat playing against the kik and suddenly the drummer changes his beat and start to play along to your bassline and the whole groove falls apart... This is EXACTLY the same as working in a vocal harmony group.. each member MUST be able to stick to their bit, un-influenced by the harmonies they hear from the others.
Message 8/16 13-Jun-02 @ 08:04 PM - RE: Bass Theory
Message 9/16 13-Jun-02 @ 08:42 PM - RE: Bass Theory
i think of bass as like a really low pitched melody. uh-hum.
Message 10/16 14-Jun-02 @ 03:03 PM - RE: Bass Theory
listen to the JB's with the bass cranked. not fancy-schmancy Jaco stuff but hot damn! basically the definition of 'funk'.
Message 11/16 14-Jun-02 @ 04:01 PM - RE: Bass Theory
Ape
Message 12/16 14-Jun-02 @ 04:57 PM Edit: 14-Jun-02 | 04:57 PM - RE: Bass Theory
C | C# | D | D# | E | F | F# | G | G# | A | A# | B | C | C# | D | D# | E | F | F# | G | G# | A | A# | B | C | C# | D | D# | E | F | F# | G | G# | A | A# | B | C |
x | x | x | x | x |
bass theory has it's place in classical. The 1,4,&5 with a resolution to the tonic is standard.
I make most of my bass out of the 1,3,4 and demished 7th. but do also use the notes in between. This Note display is the bass notes for Cmin that I use.
Message 13/16 14-Jun-02 @ 05:00 PM - RE: Bass Theory
Message 14/16 14-Jun-02 @ 05:44 PM - RE: Bass Theory
Message 16/16 16-Jun-02 @ 04:00 PM - RE: Bass Theory
And it's very important.
I wish I could make those 70's funk basslines used in many house tracks.. oh my jolly god
I'm sorry I don't have so much to contribute with, but I try sometimes not to think so much when I make bass (and other stuff), just put a note here and there and see how it sounds. Sometimes it sounds terrible, but I've found out that usually the first *lay* is often very nice sounding. It's like you just lay it the right places.. but on the other hand my basses are pretty simple
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