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my basslines got better by ignoring this

G

gorskkr

Guest
Jan 14, 2013
55
2
#1
Most of my basslines followed the same sequence: R, 5th, 3rd, Octave, R, etc... They followed the same format regardless of what root note I was playing. I think this is bc I'm trying to adhere as to the "music theory" approach to playing. i.e. I keep hearing how 5ths and 3rds need to be at the forefront of what I'm playing in addition to the roots and octaves.

However, I've been finding that when I don't adhere to this (I'm still a big 5ths guy!) that my basslines have more life and sound better. I'll grind something out like: R, 5th, 4th,5th, 4th, 3rd. or R, 6th, flattened 7, Octave, 5th, R.

I guess the bottom line is that I'm kinda torn between theory and what I call "the ear knows". Let me say that I'm not an expert nor am I a music professor. I will say that I appreciate music theory bc it has helped my guitar playing and has made me competent on the bass. I just feel that as I drift away I become more creative and more satisfied in my musical compositions.
 
#2
Music theory didn't dictate that a "bass" instrument should only do root-5th-octave kind of pattern ... it is the mainstream musician that put that c*** to an religion. No wonder music become very stale and boring in many genre.

I use theory to know exacly what chord I want to throw in my line ... 2 octave jumps ? why not ! Don't ever play the root and 5th in a section ... got it !
 
#3
gorskkr said:
However, I've been finding that when I don't adhere to this (I'm still a big 5ths guy!) that my basslines have more life and sound better. I'll grind something out like: R, 5th, 4th,5th, 4th, 3rd. or R, 6th, flattened 7, Octave, 5th, R.
Click to expand...

"theory" says that those are all fine choices for bassline notes. "theory" doesn't direct you to ONLY use R, 3, 5.
 
#4
Nice!

The thing is basic theory tells you the chord tones (root, 3,5,7, etc...) are the strongest bass notes. However, when you delve a bit deeper and get into passing, leading, tension, resolution, and "color" tones, then you discover how to be very melodic and still maintain the harmony and feel.
 
#6
Theory.....“You Keep Using That Word, I Do Not Think It Means What You Think It Means”

inigo-montoya.jpg


bigboy_78 said:
“Theory” doesn’t dictate. It explains.
Click to expand...

Yup. Free yourself from the assumptions you have made - it will be more fun.
 
#9
I've been stuck in that rut before. It really wasn't that I was following theory, but particular notes just sound better depending on the chords being played by other supporting instruments. I have started adding in what was described to me as "passing" notes. These are notes that may not be in the chord you are playing, but simply passing over the note and going up/down a half step doesn't sound bad. Like a singer starting a note flat or sharp but quickly getting in the right key. I don't use it much, but it was a small example of getting out of the same patterns.

standard pattern: G,C,D,G
example: G,C,C#/D,G

Other things I like to try are following the vocal runs or patterns in a particular song. Then on other songs I like to focus in on what the drums are doing. In a nutshell, force yourself to get out of the box. But be honest with yourself to, sometimes that same old pattern is just what best fits the song. Don't be afraid to stick with it either. There have been several of the 40+ original tunes I play in my band that I have tried to rewrite because I feel that I've progressed so much since then only to find out that they are just what the song needs. Sometimes though.......you stumble on some real winners woodshedding ;)
 
#15
The cool thing about theory is you could write that email and we could all think of cool basslines from the past- 8-6-7-6-5-1, 7-4-1, 1-5-7-8 (always a good one). Without knowledge of theory we couldn't share this. Theory isn't rules, it's know-how and terminology.
 
#16
gorskkr said:
Most of my basslines followed the same sequence: R, 5th, 3rd, Octave, R, etc... They followed the same format regardless of what root note I was playing. I think this is bc I'm trying to adhere as to the "music theory" approach to playing. i.e. I keep hearing how 5ths and 3rds need to be at the forefront of what I'm playing in addition to the roots and octaves.

However, I've been finding that when I don't adhere to this (I'm still a big 5ths guy!) that my basslines have more life and sound better. I'll grind something out like: R, 5th, 4th,5th, 4th, 3rd. or R, 6th, flattened 7, Octave, 5th, R.

I guess the bottom line is that I'm kinda torn between theory and what I call "the ear knows". Let me say that I'm not an expert nor am I a music professor. I will say that I appreciate music theory bc it has helped my guitar playing and has made me competent on the bass. I just feel that as I drift away I become more creative and more satisfied in my musical compositions.
Click to expand...

a lot of funk basslines consist of the notes that you did for the 2nd one (R, 6th, flattened 7, Octave, 5th, R)

but i gotta agree that what matter most is what the ear hears.

some things i've learnt:
1. the fourth of the chords sounds very good when played during a minor chord.
2. you can use the notes from the blues scale (flat 3rd, flat 5th) over a dominant 7 chord
 
#19
one thing to realize too is when "the ear knows" it's usually because the theory is quite correct. One thing I've learned also is when struggling with note choices listen more to the vocal melody as opposed to the chords being played. On that same approach if the vocalist is struggling with the melody, changing the bass line can often times help out.
don't rule out theory, rule out the "cookie cutter" approach to song writing.
your ear is and should be your best teacher.
 
#20
PhatRon said:
one thing to realize too is when "the ear knows" it's usually because the theory is quite correct. One thing I've learned also is when struggling with note choices listen more to the vocal melody as opposed to the chords being played. On that same approach if the vocalist is struggling with the melody, changing the bass line can often times help out.
don't rule out theory, rule out the "cookie cutter" approach to song writing.
your ear is and should be your best teacher.
Click to expand...

this is a double edge sword because you may find that only 1-4-5 kind of chord progression is good with a Emin pentatonic bass line and nothing else sound as good ... just because you are used to hear that and thus you won't go outside what your subjective taste dictate until you are expose to something else that become an acquire taste like serialism ( if you want to hear a modern take on serialism check out Blotted Science ).
 

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