Assuming we have a guitar and bass playing
1.
GTR : D Dmaj7 Dsus2
Bass: D D D
Vs
2.
GTR : D Dmaj7 Dsus2
Bass: D C# E
What are the differences regarding bass "role"?
Thank you in advance
Guitar and Bass question (for dummies)
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- KVRAF
- 7837 posts since 20 Jan, 2008
See Slash chords. From the C/D thread.
Although it would be highly unlikely for a bass to play that type of pattern against that type of chord progression. If the guitar was indeed playing a Dmaj7 the C# while expressed in the lowest of Bass registers may sound either very off or rather unique/obtuse. Possibly too much for a rock environment. Use your ears. Listen to it. Does it sound right/wrong in your circumstance?
Although it would be highly unlikely for a bass to play that type of pattern against that type of chord progression. If the guitar was indeed playing a Dmaj7 the C# while expressed in the lowest of Bass registers may sound either very off or rather unique/obtuse. Possibly too much for a rock environment. Use your ears. Listen to it. Does it sound right/wrong in your circumstance?
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
Obviously the first is root function or role, the other isn't.
But I would note that an E in the bass of a D E A chord tends to even more resemble [E A D (cf., A D E)] type of sus 4. Which may be important or not.
But I would note that an E in the bass of a D E A chord tends to even more resemble [E A D (cf., A D E)] type of sus 4. Which may be important or not.
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- KVRian
- 1002 posts since 1 Dec, 2004
1 is D Dmaj7 Dsus2
2 is D Dmaj7/C# E7sus4
Both are kindof pedals-ish, but in the first one the bassline is "part of the pedal" (so it doesn't move) while in the second one it's not. Since the bass doesn't move in the 1st example, the harmony is more static (progresses less fast/far).
2 is D Dmaj7/C# E7sus4
Both are kindof pedals-ish, but in the first one the bassline is "part of the pedal" (so it doesn't move) while in the second one it's not. Since the bass doesn't move in the 1st example, the harmony is more static (progresses less fast/far).
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- KVRist
- 36 posts since 1 Jul, 2013
I disagree. I see Major 7 chords in third inversion fairly often when I play bass for my worship band.tapper mike wrote:See Slash chords. From the C/D thread.
Although it would be highly unlikely for a bass to play that type of pattern against that type of chord progression. If the guitar was indeed playing a Dmaj7 the C# while expressed in the lowest of Bass registers may sound either very off or rather unique/obtuse. Possibly too much for a rock environment. Use your ears. Listen to it. Does it sound right/wrong in your circumstance?
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
I don't even know if this is a real-world and not a hypothetical example just to get some feedback. It looks 'busy' to me in and of itself, but who knows.
'unique/obtuse' is a strange thing to see, though. Maybe you want 'abstruse', or 'obscure'.
'unique/obtuse' is a strange thing to see, though. Maybe you want 'abstruse', or 'obscure'.
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- KVRian
- 1002 posts since 1 Dec, 2004
Who cares.jancivil wrote:'unique/obtuse' is a strange thing to see, though. Maybe you want 'abstruse', or 'obscure'.
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- KVRian
- Topic Starter
- 552 posts since 10 Apr, 2011
Hey guys thank very much for your answers.
Do you know some other harmony/composition techs? I would like to check them. Pedal, modulation, then?
Thank you
Yep. I agree with you.MadBrain wrote: Both are kindof pedals-ish
Do you know some other harmony/composition techs? I would like to check them. Pedal, modulation, then?
Thank you
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- KVRAF
- 2285 posts since 20 Dec, 2002 from The Benighted States of Trumpistan
Counterpoint is very cool, because it gives each line independence yet forms a coherent whole; listen to some Bach chorales or fugues and you'll get the idea. It's also one of the fundamental techniques you learn in theory/comp classes, so books on it are easy to find. But it's easy to overdo, thereby losing focus.
Another very useful technique is to build up parts around a strong basic framework, then improvise (this last bit is the key). Listen to some Stones or P-Funk to get the idea; everybody gets something interesting and fun to play, but there is a clear separation between background and foreground. You can consider this to be a very happy medium between riff rock ("Iron Man") and Bach.
Another very useful technique is to build up parts around a strong basic framework, then improvise (this last bit is the key). Listen to some Stones or P-Funk to get the idea; everybody gets something interesting and fun to play, but there is a clear separation between background and foreground. You can consider this to be a very happy medium between riff rock ("Iron Man") and Bach.
Wait... loot _then_ burn? D'oh!