Double Bass Playing Harmony Parts ala Cello

[Jason Sypher]

A recent studio recording session brought something to my attention. I’m a bassist that loves to bow. I probably practice arco 95% of the time, a minimum of 2-4 hours a day. I’ve slowly developed a nice sound on the instrument, one that conveys what I hear in my head. But oddly, I mostly play fiddle tunes, primarily Irish in the last year or so. Before you balk I’ll boldly tell you, I’m sounding very good these days and often bow unison at sessions with the other players. I know, you think that sounds mediocre at best but trust me, I can do it. But let’s be honest, who needs that outside of Irish or acoustic music gigs. What people really want from me is celloistic harmony parts, often up high, with a very light touch and a beautiful melodic statement. Although I delivered the goods last week I admit to feeling limited and not as free as I would like. Now, back on the bass, I’m really wondering how to develop this skill further. Of course I can practice my scales and arpeggios and maybe that’s the answer, furthering my intuitive unencumbered improvisation. But harmony is another skill entirely. I basically use my ear, but perhaps there is a way I can be more methodical and therefore more consistent. All suggestions welcome.

 

[Don Kasper]

But harmony is another skill entirely.

I've found this device (below) helpful in exploring/hearing and understanding Harmony.
Good Luck and Good Harmony/Melody.

 

[CaseyVancouver]

Sounds like you are getting into Paul Kowert from Hawktail territory!
That is an amazing achievement.

I would consider private harmony theory lessons.
A top level arranger, music theory professor, vocalist, pro player you respect (on any instrument)
should help you to that next level.

 

[AGCurry]

Good post, Jason. You're correct in that people do indeed like/want "celloistic" harmonies. I don't think of Irish fiddle tunes as lending themselves to harmony, but I'm no expert in Irish music.

I'm a good harmony-by-ear singer, as is my wife. We've been called "harmony in a can," as we can harmonize in two parts with a melody if we've heard it once or twice. People ask me "how do you do that?" and I'm at a loss to answer, but here are a few thoughts:

1. Know the melody and be able to play it by ear (intervals!).
2. Be able to hear and/or predict what the chord changes are.
3. Don't be afraid to double melody or harmony briefly; a harmony line may "lead" you to note that's not pleasing in the particular inversion, so you're better off doubling.
4. You don't have to play all the notes; sometimes a long pedal tone - or a rest - may be most effective.
5. Think about how close the harmony should be. To illustrate: In two-parts sung by a man and a woman, it generally sounds better with the woman singing the melody and the man singing the standard "third-above" part, because the notes are less than an octave apart. The other way, the notes are more than an octave apart.
6. Effective harmonies often include notes extra to the chords, like appogiaturas and suspensions.
7. Good harmonies are often melodic, but some sound best very plain.
8. Think about and plan a harmony before you play it.

 

[Jason Sypher]

Sounds like you are getting into Paul Kowert from Hawktail territory!
That is an amazing achievement.

I would consider private harmony theory lessons.
A top level arranger, music theory professor, vocalist, pro player you respect (on any instrument)
should help you to that next level.

Yes…we are friends! My problem is I’m really self-taught so there are gaps in my education and knowledge. Classical players get to play parts together from the beginning. I’ve slowly entered that world over years if not decades.

 

[Jason Sypher]

Good post, Jason. You're correct in that people do indeed like/want "celloistic" harmonies. I don't think of Irish fiddle tunes as lending themselves to harmony, but I'm no expert in Irish music.

I'm a good harmony-by-ear singer, as is my wife. We've been called "harmony in a can," as we can harmonize in two parts with a melody if we've heard it once or twice. People ask me "how do you do that?" and I'm at a loss to answer, but here are a few thoughts:

1. Know the melody and be able to play it by ear (intervals!).
2. Be able to hear and/or predict what the chord changes are.
3. Don't be afraid to double melody or harmony briefly; a harmony line may "lead" you to note that's not pleasing in the particular inversion, so you're better off doubling.
4. You don't have to play all the notes; sometimes a long pedal tone - or a rest - may be most effective.
5. Think about how close the harmony should be. To illustrate: In two-parts sung by a man and a woman, it generally sounds better with the woman singing the melody and the man singing the standard "third-above" part, because the notes are less than an octave apart. The other way, the notes are more than an octave apart.
6. Effective harmonies often include notes extra to the chords, like appogiaturas and suspensions.
7. Good harmonies are often melodic, but some sound best very plain.
8. Think about and plan a harmony before you play it.

So very true and yes I can cover the roots, thirds etc. I love it, very satisfying. What they were asking of me is to harmonize and duet with Rhiannon. I did it, kept it very pentatonic and they were happy but I felt kind of sheepish about it. I sort of did the Edgar thing, gliss and target the pretty notes. What might help me are written out duets.