Advanced Bassline Theory

C

caycay

New member
Trying to refresh my memory of bassline theory so I can build more energy with them in my tracks...Did some searching on the board and found some stuff, but have a few questions....

Was wondering what the limits of a bassline were, when playing against chord progressions?

I was wondering when it is appropriate to use non chord notes? Or should I use 7th and 9ths, etc, to have more options?

Also, what are some techniques with a bassline to build more energy, especially in soul and r&B? Any help appreciated.
 
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increase rhythmic density (i.e. more notes) for energy

scale runs to join root notes together

full and partial arpeggios (spelling the chords out)

7ths and notes should be scale tone appropriate for the current chord, e.g.

in C major the following are scale tone 7ths and 9ths for each chord

C-E-G-B-D ~ M7, M9
D-F-A-C-E ~ m7, M9
E-G-B-D-F ~ m7, m9
F-A-C-E-G ~ M7, M9
G-B-D-F-A ~ m7, M9
A-C-E-G-B ~ m7, M9
B-D-F-A-C ~ m7, m9

m = minor
M = Major
 
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Thanks bandcoach....

Should I do scale runs only at the end of a chord when it transitions to another chord?

Also, when is it ok to use a non chord tone?
Ex: playing C-E-G chord and I started with the root in the bass then went to D. I thought it sounded different but other people said it sounded off...
 
I wouldn't try to go too fancy with nonchord tones on the bass line, not at this stage at least. You need to think of the bassline the way a bassplayer accompanying a band does---his job is to support the rhythm players. This is why in a combo situation, it is preferable for the rhythm guitarist to play rootless voicings with the extensions and leave the root and even the 5th to the bass. This way, everyone occupies their own sonic territory and no one is clashing.
When writing a bassline, I would just stick to roots and 5ths in bass, unless you already have a good to solid enough knowledge of harmony. I would save bass arpeggios for a section where the bass is soloing. Regardless, go with what sounds good in the end--there are no rules, only suggestions.
 
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caycay said:
Thanks bandcoach....

Should I do scale runs only at the end of a chord when it transitions to another chord?

Also, when is it ok to use a non chord tone?
Ex: playing C-E-G chord and I started with the root in the bass then went to D. I thought it sounded different but other people said it sounded off...
Click to expand...

So you are describing a C/D which is an alternative for D11 (no 3rd) and so it probably won't sound as good as it could if the rest of the piece is not using those higher level chord extensions in a similar way

As for the scale runs themselves, use them when they seem appropriate - in country you hear them often as it is a standard way to signal to the rest of the band the chord change is coming up....

Pumpthrust said:
I wouldn't try to go too fancy with nonchord tones on the bass line, not at this stage at least. You need to think of the bassline the way a bassplayer accompanying a band does---his job is to support the rhythm players. This is why in a combo situation, it is preferable for the rhythm guitarist to play rootless voicings with the extensions and leave the root and even the 5th to the bass. This way, everyone occupies their own sonic territory and no one is clashing.
When writing a bassline, I would just stick to roots and 5ths in bass, unless you already have a good to solid enough knowledge of harmony. I would save bass arpeggios for a section where the bass is soloing. Regardless, go with what sounds good in the end--there are no rules, only suggestions.
Click to expand...

Also called a washing machine bass (vacillating between 1 and 5 of the current chord) and heard often in the various latin styles, the 1-5 bass movement is a staple of jazz bass playing, but is coupled with descending lines through the chord tone 7th and 6th to move chords a 5th away
 
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i didn't know it could be good to play not just the root note for bassline, GREAT!
 
yes, which is why you need to consider how you use them - if it is just to oscillate between two notes then it may not be the best move, as it sets up an expectation that in fact the chord is changing with each change of bass note, if you move 1-2-3-2-1 this is better as the expectation is that the 2 is allowing for flowing movement between the two chord tones,
 
chord-scale tones 1, 2, 3, etc: if it was a C major chord it would be C-D-E-D-C, if it was D minor then it would be D-E-F-E-D, and so on
 
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