Need help adding bass-lines to melodies

[tannis_root]

New member and new to bass playing. I've written a bunch of monophonic melodies and now I'd like to add some bass-lines. If I were to share some recordings would anyone like to try and help me compose the bass parts? I've attached an mp3 as an example. The tune is called Sixth Noon of Midnight. I can play it in any "key" but in this recording of it all of the notes used all fit diatonically within the notes in a G-scale. It's either in E-Aeolian (E, F#, G, A, B, C, D, E) or A-Dorian (A, B, C, D, E, F#, G, A) depending on how you look at it. For example the notes I'm playing at the very beginning of the tune are E-D-C, E-D-C-A...

That should give you reference.

Thanks!

 

[Oneirogenic]

What chords do your melodies most closely outline? Start there. Find a stylistically appropriate groove and start with the root and fifth of chord for your bass lines.

 

[tannis_root]

What chords do your melodies most closely outline? Start there. Find a stylistically appropriate groove and start with the root and fifth of chord for your bass lines.

Thanks. No chords changes at this point. These are just monophonic melodies so I don't think in terms of chords. For a person that has the ear for it, perhaps many different possible chord progressions or variations are implied upon hearing it. I'm not that person. I don't hear "chords" I hear melodies. For example I don't think of what chords are present when I whistle something. These melodies are the same as whistling but done instrumentally on an instrument. But, based on the scale being used in this key I can tell you that the chords that would be used are probably limited to Gmajor, Aminor, Bminor, Cmajor, Dmajor and Eminor if that helps. The I, ii, iii, IV, V, and vii chords in the G-major scale. But I wasn't planning on deciding on chords before the bass-line. I was hoping that the bass-line would further "imply" a chord (or counter melody harmony) without locking the chord changes into stone. I realize that's backwards from most people.

 

[Oneirogenic]

Then write another melody in the bass register. Start experimenting and see where your ears take you. I think you might be over thinking this. A bass line typically is establishing harmony but you can certainly think about it in terms of a separate counter melody that fits with the first one. Harmony will end up being implied one way or another so it doesn't hurt to try and examine the already established implied harmonies from your first melody. Good luck, I find these composition challenges a particularly fulfilling if frustrating puzzle to solve.

 

[Malcolm35]

You want a bassline. Why? What do you want the bassline to add? The answer to that question dictates what bassline could be used. I think you are leaning toward counter point. And if so not my cup of tea, I do not know enough to help, others can/will help.

Basic harmony and movement the old one, four, five in your major or minor key would fit the bill.

Give some thought to a modal vamp chord progression... it droning would call attention to your melody.

 

[tannis_root]

Then write another melody in the bass register. Start experimenting and see where your ears take you. I think you might be over thinking this. A bass line typically is establishing harmony but you can certainly think about it in terms of a separate counter melody that fits with the first one. Harmony will end up being implied one way or another so it doesn't hurt to try and examine the already established implied harmonies from your first melody. Good luck, I find these composition challenges a particularly fulfilling if frustrating puzzle to solve.

I like this!

 

[tannis_root]

You want a bassline. Why? What do you want the bassline to add? The answer to that question dictates what bassline could be used. I think you are leaning toward counter point. And if so not my cup of tea, I do not know enough to help, others can/will help.

Basic harmony and movement the old one, four, five in your minor key would fit the bill.

I think the reason is that I've neglected the study of harmony since my ear is so drawn to melody. This will help get me thinking that way. And to help add some interest to the bare bones melody.

 

[Malcolm35]

I think the reason is that I've neglected the study of harmony since my ear is so drawn to melody. This will help get me thinking that way. And to help add some interest to the bare bones melody.

Yes it would. Happy trails.

 

[bolophonic]

I do this type of writing all the time. It’s how I do music. If you sent that to me as a collaboration, I would want to know where you planned on taking it. One could play bass chords, or compose a counterpoint. Will the bass provide the rhythm, or will it be textural? I try to compose lines that are syncopated and wind them around the melody. Sometimes I play simply to just create a pedestal for a melody, like this song with zero chord changes:

 

[tannis_root]

I do this type of writing all the time. It’s how I do music. If you sent that to me as a collaboration, I would want to know where you planned on taking it. One could play bass chords, or compose a counterpoint. Will the bass provide the rhythm, or will it be textural? I try to compose lines that are syncopated and wind them around the melody. Sometimes I play simply to just create a pedestal for a melody, like this song with zero chord changes:

Wow @bolophonic ! That is so much like my style of melody it's uncanny. You're much more advanced and professional than I am...adding layers over the course of the track to develop movement, but as far as a modal/minor melody that has a creepie sea shanty or almost Northern European vibe that's the ticket. The fiddle suggests that. I was playing along within seconds once I realized that was a half-step from A up to that Bb note...resolving back down to a D note. The mallets really adds a cool flavor. Some would probably say that Sea to Nowhere does have chord changes. I like the idea of creating a pedestal for melody.

 

[Papageno]

There are 2 things you can use to create a bass line (as well as a complete accompaniment) to your melody:
1. your ear (if it sounds good, it is good)
2. your knowledge of harmony.

Some musicians would rely more on 1 and some more on 2, but the serious musician will have a strong command on both.

So, I would recommend to do:
1. ear training; this is the most important skill for a musician.
2. study harmony; this will enable you to use what musicians have discovered and used during the past centuries without having to reinvent the wheel.

 

[JeezyMcNuggles]

Thanks. No chords changes at this point. These are just monophonic melodies so I don't think in terms of chords. For a person that has the ear for it, perhaps many different possible chord progressions or variations are implied upon hearing it. I'm not that person. I don't hear "chords" I hear melodies. For example I don't think of what chords are present when I whistle something. These melodies are the same as whistling but done instrumentally on an instrument. But, based on the scale being used in this key I can tell you that the chords that would be used are probably limited to Gmajor, Aminor, Bminor, Cmajor, Dmajor and Eminor if that helps. The I, ii, iii, IV, V, and vii chords in the G-major scale. But I wasn't planning on deciding on chords before the bass-line. I was hoping that the bass-line would further "imply" a chord (or counter melody harmony) without locking the chord changes into stone. I realize that's backwards from most people.

You're melody is either a chord, a series of chords, or is out of key.

Since it's not out of key, you should figure out what chords you're playing, by the notes you're hitting.

 

[ACRock]

Root to 5th below two feel
a-e a-e
g-d g-d
a-e a-e
g-d g-d
a-e a-e
g-d g-d
a-e a-e (low root to 5th above)

 

[littlebun]

New member and new to bass playing. I've written a bunch of monophonic melodies and now I'd like to add some bass-lines. If I were to share some recordings would anyone like to try and help me compose the bass parts? I've attached an mp3 as an example. The tune is called Sixth Noon of Midnight. I can play it in any "key" but in this recording of it all of the notes used all fit diatonically within the notes in a G-scale. It's either in E-Aeolian (E, F#, G, A, B, C, D, E) or A-Dorian (A, B, C, D, E, F#, G, A) depending on how you look at it. For example the notes I'm playing at the very beginning of the tune are E-D-C, E-D-C-A...

That should give you reference.

Thanks!

I suggest listening to the track over and over. Then start improvising a bass line with your voice (humming/singing); trying some different ideas. Record yourself and see what resonates with your melody

 

[JimmyM]

I think the reason is that I've neglected the study of harmony since my ear is so drawn to melody. This will help get me thinking that way. And to help add some interest to the bare bones melody.

Harmony is vital to Melody. Otherwise there is no context for your Melody.

 

[MVE]

Hum along with your recording until you find something you like, keep doing it until you can hum it without the recording, and then figure out what you’re humming on your bass, piano or guitar.

 

[Dirk Diggler]

Root on the 1, the rest are your choice.

 

[tannis_root]

Root to 5th below two feel
a-e a-e
g-d g-d
a-e a-e
g-d g-d
a-e a-e
g-d g-d
a-e a-e (low root to 5th above)

Thanks @ACRock So it looks like you're thinking that it can work with just two chords...toggling between what I would call a "ii" chord (Aminor in this case) and a "I" chord (Gmajor in this case). With the "ii" chord being home and the "I" chord being away. That would lead me to think that it's Dorian. A-Dorian in this case. Scale of 2 34 5 6 71 2. Of course you're leaving out the 3rd note of those chords so the major/minor part is sort of undefined. I like that.

 

[InhumanResource]

Thanks. No chords changes at this point. These are just monophonic melodies so I don't think in terms of chords. For a person that has the ear for it, perhaps many different possible chord progressions or variations are implied upon hearing it. I'm not that person. I don't hear "chords" I hear melodies. For example I don't think of what chords are present when I whistle something. These melodies are the same as whistling but done instrumentally on an instrument. But, based on the scale being used in this key I can tell you that the chords that would be used are probably limited to Gmajor, Aminor, Bminor, Cmajor, Dmajor and Eminor if that helps. The I, ii, iii, IV, V, and vii chords in the G-major scale. But I wasn't planning on deciding on chords before the bass-line. I was hoping that the bass-line would further "imply" a chord (or counter melody harmony) without locking the chord changes into stone. I realize that's backwards from most people.

You might explore your melody notes as thirds and sevenths of chords and see what you get.

 

[mambo4]

But I wasn't planning on deciding on chords before the bass-line. I was hoping that the bass-line would further "imply" a chord (or counter melody harmony) without locking the chord changes into stone. I realize that's backwards from most people.

The only difference between harmony and melody is time. The structures of consonance and dissonance are the same. where do you want your tension and where do you want your release? The existing melody already has some, where do you want to emphasize or soften it? Understanding the possible chords can guide you in deliberately choosing how consonant/dissonant you wish to be at any given moment.

But if you truly want to avoid thinking of chords, just play your mp3 and sing / whistle / jam along until your ears are happy. Maybe listen for where you want tension and where you want release, maybe listen for opportunities for contrary motion.

There are no rules, but you can google someLink Removed or rules for counterpoint