Writing basslines

[yehongxiang]

Hey all, I've just been asked to audition for an original band, and I have to come up with a bassline by this weekend.

The song they sent me is not difficult, and is actually made up of only two chords. I've never written any basslines before, however, and I'm not sure how I should start on it.

FWIW, the song is done in C and D completely, and in the sample recording the bassist was just playing root notes throughout.

Any advice please? I've only been playing for five months and just starting on modes and all, so this is quite challenging.

[JimmyM]

forget modes when writing basslines. they are cool for learning purposes, but when it comes time to make music, write music, not modes.

no easy or set answers...takes some trial and error usually. try to do interesting stuff but don't do it if you think it'll ruin the song. but just remember nobody gets hurt if you write something that doesn't work. just listen to the other isntruments and come up with a line that you believe is good for the song and adjust it if it doesn't.

[avenger7326]

an easy way to do this is to listen to the song without your bass and record yourself humming a bassline from your head then go back and figure out how to play what youve hummed. i find it easier to come up with stuff when im not around my bass because when i have my bass i feel like i get caught up in scales and chords and patterns and forget how to make real music lol.

[Chris K]

Pity you didn't mention tempo or rhythm of that song. Since the chords are pretty simple, a focus on rhythm is important. Root notes need not be dull if you discover a kind of pulse or groove, some syncopation, the like.

[MalcolmAmos]

Originally Posted by Chris K

Pity you didn't mention tempo or rhythm of that song. Since the chords are pretty simple, a focus on rhythm is important. Root notes need not be dull if you discover a kind of pulse or groove, some syncopation, the like.

R
R-5
R-3-5-3
8-7-6-5

I have found R-3-5-3 and then descend on the next chord 8-7-6-5 does tend to give you something beyond the norm. As mentioned the groove and nailing the chord changes are the important things to consider. Of course IMHO.

[maxgrant]

I often approach writing a bassline with a mental image of putting a bunch of peaks in a three-d space (the "peaks" being the chords and beats I want to hit) and then laying a sheet across them. The sheet represents the contours I want the bassline to have.

It doesn't have to be difficult. I hope they aren't using this to assess your chops or something stupid like that. Get your foot tapping, make a recording of the chords by themselves and build into it.

They should NOT have given you a line to hear if they wanted you to write one. My experience is that if I demo a song and flesh out the parts, the band will try to play what I fleshed out even if I'm a total hack at it. I have gotten in the habit of bringing nothing but a bass line and vocal to them and making them figure out the rest.

[togglehead]

C and D what? Major...minor?

This will be important to determine what notes NOT to play...

[tZer]

Without knowing the style or instrumental makeup of the band, it's very hard to advise specifically.

However, there are some rules of thumb you can apply pretty much across the board:
1) start simple - emphasize the groove - find the 'pulse' of the tune, work with the drums. Think of the strong beats of your bass part as putting a note to the sound of the kick.
2) when singer is singing (if applicable) play minimally
3) when guitar is soloing (if applicable) play minimally
4) when no one is singing or soloing, play appropriately and support the groove

But the style, genre, makeup of the band, etc... all factor into how complex or simple your line should/needs to be. The most important thing is to serve the song - not try to create the greatest bassline on earth - serve the song.

Some of the best (maybe not most amazing) but best basslines are the simplest ones.

[DudeistMonk]

^ Yeah that would be useful info.

[Essen]

I pretty much just listen to basslines in other music, and try and see "how they work". (Not copying). I don't know many scales, but I've developed an ear for what fits, and what doesn't.

[NKUSigEp]

The style of music should dictate what you play. Even for a song composed of just two chords, it will sound entirely different for country than for rock.

I look at my job in Wolvesbeard as a "what does the song call for" kinda thing, and try to shoot for a 50/50 mix between driving the rhythm section and weaving in and out of the guitar parts, with just an occasional melody or solo part. But that doesn't always happen. Sometimes I am the melody for most of the song and sometimes I'm strictly rhythm.

[JimmyM]

Originally Posted by Essen

I pretty much just listen to basslines in other music, and try and see "how they work". (Not copying).

nothing wrong with stealing from other musicians. everyone does it. the problem only comes when you steal from only one or two and you turn yourself into the poor man's version of them. steal from everyone.

[BobaFret]

Originally Posted by JimmyM

steal from everyone.

Very well stated.

[MalcolmAmos]

Originally Posted by maxgrant

I often approach writing a bassline with a mental image of putting a bunch of peaks in a three-d space (the "peaks" being the chords and beats I want to hit) and then laying a sheet across them. The sheet represents the contours I want the bassline to have.......

I just re-read this post. Great advise. Wave action is talked about in this paper. http://smu.edu/totw/melody.htm If the melody follows a wave action -- seems logical that our bass line should also.

[yehongxiang]

Thanks for all the advice.

The song is kind of pop-rockish, and consists of one lead guitar (short solo in between), an acoustic rhythm guitar, the bass, drums and vocals. It is quite similar to Oasis' Wonderwall in terms of tempo.