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Quick answer-no.
Long answer-- study theory and composition, and what the masters before us have done ( this could take years).
Counter point and melodic basslines are pleasing to the ear.
Example: C,B,Bb,A played against C, Cmaj7, C7,C6 (very pop)
Long answer-- study theory and composition, and what the masters before us have done ( this could take years).
Counter point and melodic basslines are pleasing to the ear.
Example: C,B,Bb,A played against C, Cmaj7, C7,C6 (very pop)
A bit of an unconventional way of going about it today, but I think any bassist would do well to go dig up some of the simpler Bach chorales and analyse the bass line.
The biggest thing would be voice leading, connecting chord changes in a way that is both efficient and musical (intervals of major and minor seconds, and fifths rule supreme here). The following will assume we only play one note per chord. While the root of the chord is going to be played most often on a change, the third will almost always work, too (but use in moderation - 1st inversion major chords could also be mistaken for a specific chord that was used to modulate in a lot of classical music). Comes in handy if you want to connect chords using as little motion in the bass as possible. Fifths are tricky. Sevenths are beautiful when played under the V7 (=3rd inversion) leading into the third of the I chord. The half-tone resolution kicks butt.
But at the end of the day, the root will always be your safe zone.
The biggest thing would be voice leading, connecting chord changes in a way that is both efficient and musical (intervals of major and minor seconds, and fifths rule supreme here). The following will assume we only play one note per chord. While the root of the chord is going to be played most often on a change, the third will almost always work, too (but use in moderation - 1st inversion major chords could also be mistaken for a specific chord that was used to modulate in a lot of classical music). Comes in handy if you want to connect chords using as little motion in the bass as possible. Fifths are tricky. Sevenths are beautiful when played under the V7 (=3rd inversion) leading into the third of the I chord. The half-tone resolution kicks butt.
But at the end of the day, the root will always be your safe zone.
I remember going through this process. What ultimately helped me was when I took a few steps back and looked at a bigger picture. This allowed me to see my instrument as a single voicing within that A minor chord, so to speak.
As Nashrakh mentioned, I, too, used to do chord analysis of Bach works as a student in music theory. It really helped in illustrating chordal voicings and movement, so when I took orchestration, I was able to create pieces that, if nothing else, were pleasing to the ear.
Getting back to that A minor chord, try an inversion sometime, but be mindful of any reaction from the rest of the band. Depending on the genre, this may or may not be an acceptable norm.
Oh, and have fun with it all - that's really the important part!
As Nashrakh mentioned, I, too, used to do chord analysis of Bach works as a student in music theory. It really helped in illustrating chordal voicings and movement, so when I took orchestration, I was able to create pieces that, if nothing else, were pleasing to the ear.
Getting back to that A minor chord, try an inversion sometime, but be mindful of any reaction from the rest of the band. Depending on the genre, this may or may not be an acceptable norm.
Oh, and have fun with it all - that's really the important part!
If you're playing guitar or keyboard, couldn't you just play any chord that fit the key? Sure, be what would that sound like?
If you're playing bass, couldn't you just play any note that fit the key? Sure, but you wouldn't be doing your job. You'd be shooting in the dark and wanking.
If you're playing bass, couldn't you just play any note that fit the key? Sure, but you wouldn't be doing your job. You'd be shooting in the dark and wanking.
"Just play the root" is the cry of many an insecure, untalented guitarist, followed closely by, "Just play what I play". The truth is, as was said above, many times it serves the song to ride eighth notes on the root. If it's a cover tune, learn it as it's written before you go venturing off and reinventing the wheel. Too many players like to claim their lack of talent as artistic interpretation.
That said, bass lines that move in and around the chord structure can be a powerful tool on your tonal pallet. If you have access to a piano, try this: (bass/chord) C/C D/D C/C D/D C/C D/D C/C. Now try this one: C/C D/D E/C F#/D G/C A/D C/C. Just a simple two chord progression with a bass note that moves through the scale on the two chords. You can hear where something like that could advance a song and invoke a new emotion. You can also hear where if you hadn't established the initial chord structure and just played the second progression for the whole song, how that change in the progression would have very little meaning. The root is itself a powerful tonal tool, as it serves to contrast everything you do around it. In the end, you need to do what best serves the song. I recorded an album years ago where, after recording the lines I'd written, I tried to force other more "interesting" bass lines into it. What the song needed was the boring eighth note root rides I'd originally done and other than a few fills and licks, it pretty much stayed the same. Even (insert famous bass player of you choice) knows how to play the root. The trick is knowing how and when to move outside of that.
That said, bass lines that move in and around the chord structure can be a powerful tool on your tonal pallet. If you have access to a piano, try this: (bass/chord) C/C D/D C/C D/D C/C D/D C/C. Now try this one: C/C D/D E/C F#/D G/C A/D C/C. Just a simple two chord progression with a bass note that moves through the scale on the two chords. You can hear where something like that could advance a song and invoke a new emotion. You can also hear where if you hadn't established the initial chord structure and just played the second progression for the whole song, how that change in the progression would have very little meaning. The root is itself a powerful tonal tool, as it serves to contrast everything you do around it. In the end, you need to do what best serves the song. I recorded an album years ago where, after recording the lines I'd written, I tried to force other more "interesting" bass lines into it. What the song needed was the boring eighth note root rides I'd originally done and other than a few fills and licks, it pretty much stayed the same. Even (insert famous bass player of you choice) knows how to play the root. The trick is knowing how and when to move outside of that.
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No, you don't have to play the root.
But, in most cases, you have to play something that works well with both the chord and the melody. Often times, that is the root.
Also, the root is called that for a reason. Think about the word root. A root firmly attaches a plant to the ground. A root note firmly establishes a chord and the melody within it. So if the bass isn't nailing the root, find a way for somebody to be doing it other than just buried in a guitar chord.
So, sure, stray away from the root to mix it up a little. But avoiding the root constantly just to be cool and different could cause the song to suffer. When you start trying this, record the whole band a lot. Listen to the WHOLE song, and not just your kick A new root-avoiding bass line.
You still need a song when it's all said and done. And each part needs to contribute to the song, not detract from it.
In short, it's kind if like slap bass.....and chili powder. Sure, it can sound/taste good. But it's also really easy to put in too much if a good thing.
But, in most cases, you have to play something that works well with both the chord and the melody. Often times, that is the root.
Also, the root is called that for a reason. Think about the word root. A root firmly attaches a plant to the ground. A root note firmly establishes a chord and the melody within it. So if the bass isn't nailing the root, find a way for somebody to be doing it other than just buried in a guitar chord.
So, sure, stray away from the root to mix it up a little. But avoiding the root constantly just to be cool and different could cause the song to suffer. When you start trying this, record the whole band a lot. Listen to the WHOLE song, and not just your kick A new root-avoiding bass line.
You still need a song when it's all said and done. And each part needs to contribute to the song, not detract from it.In short, it's kind if like slap bass.....and chili powder. Sure, it can sound/taste good. But it's also really easy to put in too much if a good thing.
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The root is simply the strongest, most supportive note in an any chord tone, followed by the 5th note, and then the minor or major third. But in theory, any note within the chord can be supportive. Especially on notes 2 and 4. The root note is "home". Chord tones, scale tones on weaker transitional notes, and finally, chromatic notes outside of the scale, like a "blue" note. It all has to fit nicely. Of course, your band expects you to play roots. Generally, music sounds best when it starts at "home", and then returns "home".
Hit it on the one. After that you're free.
This is an overly broad generalization that works in most circumstances.
This is an overly broad generalization that works in most circumstances.
I would argue it's actually first Rs, then 3s and then 5ths in terms of what gives a basic major or minor chord its quality. Often times you can leave out the fifth completely and the resulting dyad will still sound like the chord. Going for the power chord will give you no such indication.
In V7, you could also get away with just the third and the seventh... in classical music, the root (!) of the V7 is omitted pretty often or substituted with a b9 (giving you a dim 7 chord).
The quality of the third is most supportive, when emphasizing the minor or major quality of the chord, but you can play that 5th note forever, regardless of the quality of the chord. That's why I listed it as 2end most supportive.
a chord chart kinda tells you ... you are playing Bass ... as in , the base of the chord .. !?
unless the chord is Am/ C bass ... that's something different , and that bass note / chord is probably leading to a specific next chord .. !?
if the chord is Am7 ... you decide to play a C ... then that chord sound like C6 ( CEGA ) versus ( ACEG )
i would think you wanna play the Root , then go where ever you'd want .. ? Chris Squire , Entwistle come to mind ...
is it right or wrong ... not really , there's no right/wrong in Art .. ! but note choices change the structure and purpose of a particular chord voicing .. !? something best left for the Melody , ... or a Solo ...
being / playing fluid and interesting chops shouldn't dismiss the Root ... YMMV
unless the chord is Am/ C bass ... that's something different , and that bass note / chord is probably leading to a specific next chord .. !?
if the chord is Am7 ... you decide to play a C ... then that chord sound like C6 ( CEGA ) versus ( ACEG )
i would think you wanna play the Root , then go where ever you'd want .. ? Chris Squire , Entwistle come to mind ...
is it right or wrong ... not really , there's no right/wrong in Art .. ! but note choices change the structure and purpose of a particular chord voicing .. !? something best left for the Melody , ... or a Solo ...
being / playing fluid and interesting chops shouldn't dismiss the Root ... YMMV
Play whatever note you want. Just know that you're changing he chord by not playing the root. If the chord is A minor and you play a B the chord is now a Bsusb9 which will sound out of place in a country song. If you play an F you'll change the chord to an Fmaj7. Play a D and you end up with a Dsus chord. Whether it's appropriate to reharmonize he tune from the bass chair depends on the gig. Here's Ron Carter playing damn near any note but the root:
Learn the conventions - but don't be a slave to them.
Learn the so-called "rules" first before you decide to break them. And if you do decide to break them, know why you're doing it. The only reason to break rules that makes any sense is to do it knowledgeably and deliberately. That's the key difference between a brilliant revolutionary and an ignorant vandal. Revolutionaries have a vision - and a plan for making that vision real.
It's one thing to forge new pathways and chart new directions in the musical landscape. And quite another to just wander off into the sonic wilderness as a result of one's own personal ignorance.
First, learn the "rules." Second, master the conventions. An only then go out and turn everything you learned on its head.
Or so I think anyway. YMMV.
Learn the so-called "rules" first before you decide to break them. And if you do decide to break them, know why you're doing it. The only reason to break rules that makes any sense is to do it knowledgeably and deliberately. That's the key difference between a brilliant revolutionary and an ignorant vandal. Revolutionaries have a vision - and a plan for making that vision real.
It's one thing to forge new pathways and chart new directions in the musical landscape. And quite another to just wander off into the sonic wilderness as a result of one's own personal ignorance.
First, learn the "rules." Second, master the conventions. An only then go out and turn everything you learned on its head.
Or so I think anyway. YMMV.
I was taught to always play the root on the one, and the rest are up to you.
That said, there are no rules.
Norman David a harmony professor at Berklee once told me:
"Take any given note, if that's what you meant to play and you like it, it's yours".
Dirk
That said, there are no rules.
Norman David a harmony professor at Berklee once told me:
"Take any given note, if that's what you meant to play and you like it, it's yours".
Dirk
Well, YOU might not have to play the root on the one, but I like to. When we're playing this:
I'm chugging along on the A. When we're playing this:
I'm all over the neck. It all depends on what the song needs.
I'm chugging along on the A. When we're playing this:
I'm all over the neck. It all depends on what the song needs.
