I have a question on creating basslines. I usually use the major (or minor, depending on chord) to create lines. The main notes I jsue are R,3,5(or b5 for minor), 8, and passing tones. My question is, is using scales the proper way to create lines? What other scales can be used with which chords to create lines? Thanks in advance.
- Thread starter mobass
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PocketGroove82
Well-known member
yikes! a question about music!
scales,modes,chords....three approaches.
Every chord has a scale, which is also a "mode" relating to another scale.
Learn all the harmony inherent to the major, nat/melodic/harmonic minor, wholetone, symmetrical diminished, and altered dominant scales/chords and the whole world is your oyster. Also, transcribe the greats! And you're off to a great start! And if ya get all that done, call me cause I want lessons!
scales,modes,chords....three approaches.
Every chord has a scale, which is also a "mode" relating to another scale.
Learn all the harmony inherent to the major, nat/melodic/harmonic minor, wholetone, symmetrical diminished, and altered dominant scales/chords and the whole world is your oyster. Also, transcribe the greats! And you're off to a great start! And if ya get all that done, call me cause I want lessons!
Rod Trussbroken
Moderator
You've reached the stage where I highly recommend Ed Friedland's book:
[ame="http://www.amazon.com/Building-Walking-Bass-Lines-Friedland/dp/0793542049"]HERE[/ame]
I bought my copy 10 years ago and still refer to it
[ame="http://www.amazon.com/Building-Walking-Bass-Lines-Friedland/dp/0793542049"]HERE[/ame]
I bought my copy 10 years ago and still refer to it
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AnthonyD
Well-known member
<-- *click* (Adds to Amazon Wishlist)
You've reached the stage where I highly recommend Ed Friedland's book:
HERE
I bought my copy 10 years ago and still refer to it
A big +1 from me.
I bought my copy late and it could have saved me so much time.
Basically, and this goes for all styles of music, you want to hit strong notes on strong beats. The strongest notes are chord tones, pretty much in the order root, fifth, third, seventh. Major/minor qualities depend on the chord you're playing. You can link between the strong beats with weaker passing tones, which are usually scale tones, but can be chromatic approach notes. Rhythm is something that comes from listening to what everyone else in the rhythm section is doing and playing accordingly.
Thinking about it as you're playing is a great way to kill the groove.
boston asphalt2
Well-known member
Cant help ya on this one. I picked up my first bass and jsut started playing it myself without any lessons or anything.
Ive read a couple books along hte way, but I dont have the attention span to study them, so I just go with what I think sounds good. ANd you know what? For the most part, it tends to work out ok.
Ive read a couple books along hte way, but I dont have the attention span to study them, so I just go with what I think sounds good. ANd you know what? For the most part, it tends to work out ok.
shamus63
Well-known member
Very much the way I learned...hands on.
If reading material bores you (like it does me), then grab your favorite cd's/mp3's/whatever...and just plug in and play along.
I do have that book, as well as building rock bass lines. What i'm confused about is, what scales can I substitue for say, a major chord? Or minor, 7th, etch. I know to use major scales for major chords, and minor scale for minors, but not sure which scales I can substitue.
boston asphalt2
Well-known member
Very much the way I learned...hands on.
If reading material bores you (like it does me), then grab your favorite cd's/mp3's/whatever...and just plug in and play along.
Yeah, that is basically what I did. I still feel like I am missingstuff and I have trouble applying what is played in songs to the greater scheme of music theory, but I have fun.
And you know what? Sometimes, dissonance is what is needed in a song.
RiddimKing
Member
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One way to write basslines that my teacher recommends (again and again)--and which I've only recently*started to apply--is to sing them. In other words, if you have a CD with the basic chordal/melodic parts of the song, and the changes...play it over and over again and then start singing basslines to the various parts. When you hit on something you like, then transcribe it to your bass. Afterwards, you can figure out the theoretical "logic" to what your ear has decided works. One advantage of this is that you'll find that sometimes you're forcing a chord change to go minor when it might not be implied by the guitarist. In other words, your own choices can affect the overall mood of the song and often make it more interesting harmonically. Trust your ear and your creative urges.
shamus63
Well-known member
I use dissonance when working with my original band...when it fits the part appropriately.
Really makes the song take on a different edge.
Also, my lack of music theory has actually come in handy when creating bass lines...no set rules to follow.
Not that there's anything wrong with that.
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SteveB
Well-known member
I'm going to buy a copy of that book as soon as I get moved and re-locate all my music stuff. I was really impressed with Ed's playing at the Knucklehead jam for Jack & Erika's birthday.
Psychicpet
Well-known member
Hi Mo,
A fun thing for me to do is to hone in on specific "Major" type scales over major chords and use "minor" type chords over major scales like.....
if there are alot of Maj7 chords goin' on, approach it from a Lydian view point. Throw in a few #11's as well, if it's a mi7 chord I almost always default to using a Dorian outlook OR approach the mi7 chords from a Phrygian view or a Locrian view.
ALSO , don't overlook the minor pentatonic scale!!
this can relate to Maj7 chords in the sense of using the minor pentatonic of the relative minor to whatever Maj. chord is going on....... ya...... like, if it's a C Maj happening, then approach your bass line or riff or fill from an A minor pentatonic stand point.
hope some of that makes sense but above all...... LET YER EARS BE THE JUDGE!!
A fun thing for me to do is to hone in on specific "Major" type scales over major chords and use "minor" type chords over major scales like.....
if there are alot of Maj7 chords goin' on, approach it from a Lydian view point. Throw in a few #11's as well, if it's a mi7 chord I almost always default to using a Dorian outlook OR approach the mi7 chords from a Phrygian view or a Locrian view.
ALSO , don't overlook the minor pentatonic scale!!
this can relate to Maj7 chords in the sense of using the minor pentatonic of the relative minor to whatever Maj. chord is going on....... ya...... like, if it's a C Maj happening, then approach your bass line or riff or fill from an A minor pentatonic stand point.
hope some of that makes sense but above all...... LET YER EARS BE THE JUDGE!!
Psychicpet
Well-known member
ALSO!!!!
use the 6th as a target note, works great in Country riffs (listen tosome Garth Brooks)
use the 6th as a target note, works great in Country riffs (listen tosome Garth Brooks)
Randracula
Well-known member
Hi Mo,
LET YER EARS BE THE JUDGE!!
That's about the only thing I understood from you there Pete
Psychicpet
Well-known member
That's about the only thing I understood from you there Pete
heheheheheheeh
thanks Rand!
PocketGroove82
Well-known member
Hey mo, when you are holding down the bass line, 90% it's better NOT to deviate from the standard chord sound, because if you try to substitute another chord for the proper one, you're going to change the harmony and screw up the soloist/vocalist.
Now if you're playing jazz, you can use tritone substitutions to create chromatic root motion through a II-V, and it will sound find.
And if you're soloing, there are TONS of options for playing different scales of dominant chords and other ones too. check out Abersolds' Dominant Seven Workout Book w/ CDs for ideas. Also Abersolds' Scale Syllabus is a great resource.
But if all you're doing is playing a bassline for rock/pop/funk/latin stuff....remember what our role is, and adhere to the written harmony of the tune. Everyone in the band will thank you for it, and you'll probably get a call back for the next gig.
Trying to mix up the harmony to much on a simple tune is gonna make you sound like you're playing 'out', and unless you're in scofield's band...it's prob. not gonna work!
Now if you're playing jazz, you can use tritone substitutions to create chromatic root motion through a II-V, and it will sound find.
And if you're soloing, there are TONS of options for playing different scales of dominant chords and other ones too. check out Abersolds' Dominant Seven Workout Book w/ CDs for ideas. Also Abersolds' Scale Syllabus is a great resource.
But if all you're doing is playing a bassline for rock/pop/funk/latin stuff....remember what our role is, and adhere to the written harmony of the tune. Everyone in the band will thank you for it, and you'll probably get a call back for the next gig.
Trying to mix up the harmony to much on a simple tune is gonna make you sound like you're playing 'out', and unless you're in scofield's band...it's prob. not gonna work!
phatduckk
Well-known member
That's about the only thing I understood from you there Pete
he he. me too. not cuz pete wasnt clear, its just that i know that little about musical theory.
pete you really gotta move to cali to gimmie lessons
Mr Light
Well-known member
I start from chord tones, then think modally... But it depends on what style of music I'm playing. If it's Jazz, I try to throw all of my harmonic knowledge into play to make it useful. But that can prove difficult, especially if Jazz is not your cup 'o tea.
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