What Would You Do?

[steveo33]

Gang,

I've just hooked up with a band that has a song they wrote with a simple, dirge-like bluesy B,A,G,F# whole note progression. Think tempo a bit slower than "Guitar Gently Weeps", but kind of the same vibe. My instincts tell me simple, let the guitar do his Robin Trower thing, but I can't just hit those roots. I know my way around the fretboard pretty well, but I don't want to get too cute. I only hit a high B (16th fret G string) once in the idea I've worked out. I know I shoud really employ the KISS method here, but I'm interested in your takes, maybe some ideas that are tasty, but not too cute. Something like this you can take a lot of places, but I find myself getting maybe a bit too busy.

Oh, the drummer is just 4/4'n it throughout. No Prof. Peart going on at all. That's OK, just looking to see some other mindsets and approaches to it.

If putting some of the tune on here would help, I'll try to accomodate; I don't know the proper forum etiquette (if there is one) for this.

Also, speaking of R. Trower, we also cover "Bridge of Sighs". Rather pedestrian on the bass, any thoughts of how you'd jazz that up without making a mockery of it? It's primarly a guitar showcase.

Thanks,
S33

 

[Billnc]

It's the style, stick to it. Obviously it's fun to stretch out, but I like to hear the envelope of the notes develop and that style is perfect for it, the notes themselves interact in interesting ways. You can find ways to spice things up a little. A friend of mine is a monster bass player. His biggest gig I know of was touring the planet with a fairly big country star, playing R 5 bass. He still had fun.

I'd not change Bridge of Sighs at all. It's minimalism is what I like about it, if you're sticking to the original. Complicate it and it'll be a Mel Torme song.

Bridge of Sighs is about crossing the Bridge of Sighs to be executed, dirges are better for effect. Play the movie in your head when playing it.

 

[MalcolmAmos]

What we think is really not all that important. As you have just connected with this band - they had someone else doing that song before you. Ask the director what he wants from your bass. If he wants roots, give him roots.

He may say; "We got rid of the other guy because all he did was roots". OK now you know which way to go.

BTW Good luck.

 

[Chris K]

What we think is really not all that important. As you have just connected with this band - they had someone else doing that song before you. Ask the director what he wants from your bass. If he wants roots, give him roots.

He may say; "We got rid of the other guy because all he did was roots". OK now you know which way to go.

BTW Good luck.

Oh no, Malcolm, not that do-as-you're-told robotism... I'm glad Steveo33 at least acknowledges he carries some responsability for creative input.

Let me see - my reputation as an arranger is at stake here.
What we have is the -more than slightly worn - Andalusian cadence. As you can read in the Wiki article, possibilities are pretty limited. The presence of B instead of the more obviuous Bm makes things even worse.

http://en.wikipedia.org/wiki/Andalusian_cadence

A step in the right direction might be to not focus on on one set of B A G F#, but at least consider two of those sets together to find a nice basic line. Rule of thumb: scale-like movement in whole steps and half steps, a jump of a 4th or 5th when needed.

And, a second nature for a bass player should be to always look for countermovement. This means our basic line should at least partly move upward. If you let your bass line lean on tones of this basic line, you can always add ornamental stuff in a higher register (ghost notes, short runs, doubles), just the way you like.
We have to take care to avoid ugly octave parallels with the melody.

Examples:
chords: B....A....G....F#...B....A....G....F#

bass.....b....c#..d....e.....f#...c#...b...a#
or:.......b....g....f.....e.... d#..e.....f....f#

Line 1 is pretty normal.

Line 2 is the daredevil line, as the first part of it progresses in 7th's, but with a generous release of tension when you arrive on that d#. Line 2 could be a good alternative to break the bore towards the end of the song, even more if, at the very last opportunity, you start it with a instead of b.

Have fun.

 

[JTE]

Here's a novel idea. Let the music lead you. Don't play anything on bass at all, in fact keep your bass in its case. LISTEN to the band (a recording is fine, probably even better) without a bass part. Think what would sound good while maintaining the effect of the SONG ('cause the SONG is what counts, not any one instrument's part). Then SING what you think would be a good bass line for the song. How's it sound? Do that a few times, coming up with some ideas. Then play it with the band.

That's how music is created.

John

 

[Radical Edward]

Okay, so I've never been in a band, but my boyfriend is in one, and unbeknownst to him, while he's in there playing with his band, I'm out here playing to what he plays. Hee hee. Makes great practice.. but alas, my point. My point is, if you have a recording or something where you can sit on your own time and try a few different things, I think that's best. Try to work out a few options that sound good and show them to your band mates. If they don't like it, maybe you can go another direction. Try a few things that sound good to you, and compromise with them to find something in the middle. T
That's my opinion, anyway. As for specific things to try.. well.. I'm not so savvy with typing all of that jazz.
Good luck!

 

[steveo33]

Guys,

Very nice--all good stuff. I appreciate all of you that took the time.

Chris K: beautiful suggestions, I see some things opening up with these.

Thanks to all.