Bassline Movement

[ecsmix]

Hi guys I would like to know the best approach and the most used in past music.
When you have a melody/lead that has a lot of movement(playing diferent notes) and you don't want to follow that movement with the bassline or sub bassline(playing same note or 2 notes).
In that case we gonna have some lead notes playing at the same time with the bassline and they are not playing the same note.
When that happens what would be the best combinations to play at the same time?
Like if the bass is playing I(root), everything will sound good, what would be the best combinations?
In the case the bassline is playing the V(like in C, G) note, we know it will sound good playing together with the root, what else? Circle of fifths only? I-III-V, only?
I am asking that to avoid clashing frequencies that could give me problems on low frequencies(resonant ones) that could make my life harder to mix.

Thanks.

[Ogg Vorbis]

Hi guys I would like to know the best approach and the most used in past music.
When you have a melody/lead that has a lot of movement(playing diferent notes) and you don't want to follow that movement with the bassline or sub bassline(playing same note or 2 notes).
In that case we gonna have some lead notes playing at the same time with the bassline and they are not playing the same note.
When that happens what would be the best combinations to play at the same time?
Like if the bass is playing I(root), everything will sound good, what would be the best combinations?
In the case the bassline is playing the V(like in C, G) note, we know it will sound good playing together with the root, what else? Circle of fifths only? I-III-V, only?
I am asking that to avoid clashing frequencies that could give me problems on low frequencies(resonant ones) that could make my life harder to mix.

Thanks.

There are too many variables to try to describe (rhythm, tempo, whether the notes are on a strong or weak beat, register of the bass and lead, etc).

Without being able to see it notated or hear it, I'd say you're going to have to listen to the result and see if it works for you. Play it for 12 people and see what they say.

Meanwhile, you will get your ear and mind trained by listening and picking out the leads and bass lines of songs you like. There are helpful books on theory to help you understand key, harmony, scales and rhythm.

Sorry to not be able to provide specific info..

[mistertoast]

If you're really concerned about clashing, lay heavy on the notes that match the melody. However, to avoid being dull, don't be afraid to hit just about anything as a brief passing note.

[psenior]

My favorite bass player, and probably the most recorded bass player ever is Carol Kaye. She has her own forum at carolkaye.com. You should go there and read up on what she has to say. You will be enlightened.

[ecsmix]

Thanks guys.
I will see that forum for sure psenior, thanks again.

[Lunatique]

I had this exact same discussion with a fellow composer a few months ago, about the melodic and harmonic possibilities of the bassline. The rules of counterpoint works for basslines, where you have degrees of dissonance. He said his composition teacher once said that as long as the bassline notes aren't too dissonant against the melody on the strong beats, you can pretty much use any note for the rest. Sometimes using passing notes on the strong beat can also work, but it's a case-by-case thing where you have to take into consideration the melody and the arrangement. For example, really sparse arrangements may not be as forgiving of dissonant bass notes.