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08-24-2009, 10:18 AM
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Novice here. I'm trying to see if there is a 'formula', so to speak, to know when a 'bass line' is appropriate? Example: D/F#
Jack |
08-24-2009, 11:12 AM
| | Registered User | | Join Date: Nov 2007 Location: Redford, MI | | | D/F# means that when the pianist/guitarist plays the D chord, the bass player/pianist's left hand plays F# instead of the root (D). So anything with a slash is read "chord/bass note". With no slash, the root or chord name is the bass note. You're on your own for how you might want ot embellish your line from there.
Jack
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08-24-2009, 11:33 PM
| | Registered User | | Join Date: Feb 2008 Location: Los Angeles | | | Seems like you need some more detail to your question. |
08-25-2009, 10:41 AM
| | Registered User | | Join Date: Dec 1999 Location: NYC | | | Not a "formula", you pretty much have to figure out what's going on. ORANGECLAWHAMMER has the basics right, D (major triad in this instance) over an F# in the bass.
But take a look at what's going on. What's a D major triad, what are the notes in it? D F# A, right? So all the composer/arranger is really asking you to do is play a D major triad in first inversion.
Some slash chords are going to be like this, whoever wrote it is looking for a specific voicing for the chord. Other times it might be because they want a specific voice leading in the bass, a descending or ascending line through static harmony. Other times it might be true polytonal function.
There's no formula to apply, you have to understand function, have to be able to hear the direction the harmony is implying.
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08-25-2009, 02:07 PM
| | | Quote:
Originally Posted by Ed Fuqua  Not a "formula", you pretty much have to figure out what's going on. ORANGECLAWHAMMER has the basics right, D (major triad in this instance) over an F# in the bass.
But take a look at what's going on. What's a D major triad, what are the notes in it? D F# A, right? So all the composer/arranger is really asking you to do is play a D major triad in first inversion.
Some slash chords are going to be like this, whoever wrote it is looking for a specific voicing for the chord. Other times it might be because they want a specific voice leading in the bass, a descending or ascending line through static harmony. Other times it might be true polytonal function.
There's no formula to apply, you have to understand function, have to be able to hear the direction the harmony is implying. | Best analogy yet. Thanks Ed |
08-25-2009, 09:34 PM
| | Registered User | | Join Date: Dec 1999 Location: NYC | | | Um, thanks, but it's not really an analogy...
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08-25-2009, 09:55 PM
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Originally Posted by Ed Fuqua Um, thanks, but it's not really an analogy... | You are correct. Wrong word choice. Explanation. |
08-26-2009, 06:36 AM
| | Registered User | | Join Date: Nov 2007 Location: Redford, MI | | Quote:
Originally Posted by jackajesusfreak You are correct. Wrong word choice. Explanation. | Don' tfeel too bad, I would have said "exclamation".
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08-29-2009, 02:45 AM
|  | Registered User | | Join Date: Jul 2009 Location: Deep East Texas Piney Woods | | Quote:
Originally Posted by jackajesusfreak Novice here. I'm trying to see if there is a 'formula', so to speak, to know when a 'bass line' is appropriate? Example: D/F#
Jack | My two cents on what I think you are asking. The only formula I use is to look at the sheet music (fake chord, lead sheet, bass clef, whatever) decide what chords are to be played and then decide how I'll do that. The acoustic guitar plays the chord we play the notes, which notes - good question. I'm a newbie also and a Root, R-5 or R-3-5-3 does just about what I need. The explination you received on how to handle that slash chord is correct, right now in my journey I'm just worrying with the D chord, same as I'm discounting any fancy extension and deal with just the basic chord.
So what is appropriate? IMHO If the bass line you decide upon is playing the chord's root and you are laying down a steady beat. That's appropriate. That's step one, step two would include a few more notes of the chord - make it a little more interesting.
I've got two bass books I'm using right now that probably have over a hundred riffs in them. I've picked out 12 that I like and I'll be using those to make my bass lines. I'm lucky enough to have a friend that has asked me to play with him. R-5, R-3-5-3 or R-3-5-7 seem appropriate right now for what we do.
Good luck,
Malcolm
Last edited by MalcolmAmos : 08-29-2009 at 03:00 AM.
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08-29-2009, 06:53 AM
| | | | Play the F# on the first beat then play a Dmaj arpeggio or "mode" after that..........easy squeezy..........
Don't over think this stuff. Please don't worry about it either. Getting an ulcer over something simple isn't worth it. | | Thread Tools | Search this Thread | | | | 
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