Choosing which octave when accompanying?

[bfields]

Yeah, experiment and listen.

Record your rehearsals and listen to that, too, for a different perspective.

 

[Frndmoretti]

If I have to play an E in general I play it on the A string. I tendo to focus more or less on that sonic area, unless it's a cover that is specifically played different.

My hands are generally where you can see them on my profile pic.

I also don't generally play open strings unless it's a low E.

 

[bearfoot]

I play all the notes, everywhere. They all sound quite different.

Like in F, you will notice the 13th fret E string's F is probably an enormous sounding F, very tubby. Same pitch , but entirely dfferent from the 3rd fret D string one. And the A string version somewhere in between.

Which octave, on which string, when, is your choice and style. Between note choice, bass type, string type, tone setting, and amp, your unique bass sound is forged.

 

[Avigdor]

... I'm just doing the real simple chord arpeggios but is there a rule of thumb about where on the bass I should be playing? ...

Why not mix it up? Play the Verse in one octave, and drop down for the chorus (or vice versa). For guitar solos you might want to choose the lower octave to stay out of his range and just keep the groove going. Or mix octaves up for the second verse. You are allowed to have some fun with it, so treat it as an additional option that you can bring to the song to make it more interesting.

 

[nnnnnn]

The more you play, and the more you listen to what recorded bassists in your preferred genres do, the more you'll get a feel for it, and you will probably develop preferences.

I'm the meantime, when in doubt go lower for root notes. Having hit a reasonably low root note when the chord changes you can then go up the octave for some higher notes before the next chord.

If you're really unsure, then as a very rough rule of thumb I'd say 95% of the time don't play root notes higher than the pitch of the open G string, and when playing a root pitched at or above the open D play it at a higher fret on the thicker strings for a fatter tone.

If you are playing a lot of roots at the higher end of the range consider coming down an octave for choruses and then back up for subsequent verses. If a specific song doesn't sound right playing in the octave you've chosen then go up or down an octave and see if that works better.

 

[Jenra]

From a musical analysis point of view: You should always aim for the octave with the least amount of noise in it already. Say the pianist is using the A1 in the FMaj Chord, then you'd want to octavice up, and if the accordion is already playing there (with a full chord) Then I'd octavice it down - Listen to your band mates, and find the spot in the music where the bass adds clarity to the chord progression, and doesn't add mud to the same.

 

[EatS1stBassist]

Heh, generally I'm working off of 8th generation photo copies of big easy note chord sheets! Or it will be a piano based sheet music that will have Cs and Ds lower than I can play so I just transpose up. But a good example for me would be "The Devil and the Deep Blue Sea" which is usually in F. So it starts out with the F Dm G C loop so not much choice there but at the end of the chorus it shifts up to C Am D G, I could play that high on the D G strings or low on the E A strings. Sounds good to me either way but how do I choose?

Stay low! You have the other instruments playing the higher voices in the band.

 

[BassChuck]

Then there's always the line to consider. You mentioned a progression of F - Dm - Gm - C7. What does the melody do? If the melody goes up, you might play the F note in mid register to drop to the D, or do the opposite. Constructing a line through a phrase is creating a melody, not just supplying a series of roots. Working in the same direction as the melody, or opposite have different feelings, choose as you will to make a line that creates and resolves energy.
Connecting roots with passing tones has an effect also well worth experimenting with. And, in small groups, avoiding the melody note gives a fuller sound, even if it means playing a non-root chord tone.
In the end, there are many options, some will fill out the sound, some might play against the style. Just keep an open ear and always suspect there is a slightly better choice.

 

[khutch]

As you are practicing you should develop the habit of letting the music speak to you. I play in a church band which generally follows the practice recordings or the directions of the band leader, although we know him as Pastor Doug. The density of the sound, the volume of the sound, the intensity of the sound all vary from place to place within a song and of course even more from song to song. In our case a lot of this is actually driven by the lyrics. The music is used to reinforce the statements the lyrics are making. This may seem like a foreign concept but if you listen this is in fact the common practice in secular music too. At least it is in the well executed examples! But basically if you listen to the music it will tell you what to do. And it may very well tell you to do something different tonight than it did last week. It most certainly will tell you to do something different in this verse than that verse. The octave you play in like everything else under your expressive control is a tool that you use to express the intent of the music and you can only determine that by listening to it, living with it, and evolving with it.

 

[buldog5151bass]

Other than "it depends", when in doubt, I shoot for between the open A string and open G string fills in the best. But since you have two other instruments sharing your Sonic space and capable of playing bass lines (piano, accordion), you need to listen and talk to make sure you aren't stepping on each other.

 

[micguy]

I play in churches. Many of our songs build - they start out simpler, less energetic, and end up far more energetic. A lot of times I'm an octave up in the early, softer, simpler parts of the song, and move lower as we build - it helps make the song get "bigger" and build. Not always the case, but it happens that way a fair amount of the time.

This works especially well when you have a PA that really reinforces the fundamentals of the lowest notes well, and a FOH person that's willing to use that capability. It's far less effective if all you have is your amp on stage, as bass amps generally don't do what a good PA can down there.

 

[THUNDERGODX]

Hey! I'm a pretty new bass player with a real basic question. I've been lucky enough to actually be playing bass in a small group (drummer, piano, guitar, accordion), old songs, cowboy songs, etc. I'm just doing the real simple chord arpeggios but is there a rule of thumb about where on the bass I should be playing? If I play F A C in a key of F song when should I choose to play that on the D G strings, or more rumbly lower on the E A strings (not to mention I suppose going above the 12th fret...). I'm guessing the higher register may carry a bit more? Be easier to hear out there? Can playing in the lower register be too overpowering? What is my responsibility as the bass player in choosing to go high or low in my accompaniment?

ITs a Bass.
Lay Low!

 

[mrcbass]

For me, it just depends on what fits the group best. My natural tendencies are inclined to start as low as I can get about 90% of the time. I'll experiment with playing it up an octave if the low part isn't fitting well in the mix. Sometimes, I'll work up an octave because it fits my hands better.

Sorry, but there's no "one size fits all" answer to your question.

 

[JRA]

is there a rule of thumb about where on the bass I should be playing?

no.

but it sounds like you want to play higher notes in order to be assured of 'being heard'. in the music you're playing, however, the bass instrument is likely playing to be 'felt' as opposed to 'being heard'. lower notes will get you there. save the higher stuff for the 'bass feature'. your repertoire is not made for lead bass.

good luck with your octave choices!

 

[Magthegrate]

I tend to choose the lower octave every time I have a choice. I figure it's our job to hold down the low end.

That being said, If I get bored, or I feel like it's getting a bit to repetitive then I'll mix in some of the upper octave every so often. I try not to overdo it though.

 

[toothpicktower]

Thanks all that was all so super helpful!

 

[Russell L]

As you are practicing you should develop the habit of letting the music speak to you. I play in a church band which generally follows the practice recordings or the directions of the band leader, although we know him as Pastor Doug. The density of the sound, the volume of the sound, the intensity of the sound all vary from place to place within a song and of course even more from song to song. In our case a lot of this is actually driven by the lyrics. The music is used to reinforce the statements the lyrics are making. This may seem like a foreign concept but if you listen this is in fact the common practice in secular music too. At least it is in the well executed examples! But basically if you listen to the music it will tell you what to do. And it may very well tell you to do something different tonight than it did last week. It most certainly will tell you to do something different in this verse than that verse. The octave you play in like everything else under your expressive control is a tool that you use to express the intent of the music and you can only determine that by listening to it, living with it, and evolving with it.

I was gonna say something to this effect. I change octaves sometimes according to the feel of the song at different places in the song. And actually, sometimes what the bass does can influence what the rest of the band does. It's especially effective on ballads.

 

[TomB]

Since taking up the 5-string, it's been more comfortable to play tunes in E & F etc. in the lower octave, so I tend to more often than with a 4-string. I also play in C up on the 8th fret now because I still have G below it. A 5-string has made octave choices easier.

 

[Russell L]

Hehe, I was just flipping through some TV channels and came across the Johnny Cash Show from 1970 on getTV. Johnny was singing There Will Be Peace In the Valley. In the background I could barely make out the bass player playing what looked like a Danelectro bass, judging by the pickguard (not sure, though. The bass was black against his black coat, but with a white pickguard). Anyway, his fretting hand was right in the middle of the neck through the whole song. It made me think of this thread. I couldn't really hear the bass, though, on just the little TV here at the other house, and he may have been pantomiming (no amp in sight), dunno.

Just wanted to pass this along. The show was good, and also featured Glenn Campbell and Marty Robbins.