Contrary or parallel motion with bass under a chord progression?

[YoungCrocket]

Hi everyone,

My question is basically in the title, is it best practice to use contrary or parallel motion in a bass line under a chord progression? For clarifications sake, I'm producing EDM with a sub bass reinforcing a side-chained block chord progression made with supersaws.

From my own experience, I feel like parallel motion works best. This makes sense to me because the harmonic motion seems like it is perceived through the chords, therefore the sub bass should simply be reinforcing that same movement.

I figured I would ask just in case my reasoning is wrong and I also wanted to hear how other people approach the concept.

Thanks in advance!

[jancivil]

I feel like parallel motion works best. This makes sense to me because the harmonic motion seems like it is perceived through the chords, therefore the sub bass should simply be reinforcing that same movement.

That's basically non-sequitur. People use contrary motion in very strong and obvious harmony in various musics. I can't know what will come across better for you here in this case scenario, but the clause following "therefore" doesn't follow per se. I'm featuring your 'block chord progression' is already, well, blocky. If this bit is all parallels as well... as a generalization one may be running the risk of creating a dull effect. But I don't know, music is all context and the effect may well be best approached the way you have this predisposition for. Since you are 'contrary-curious' why not try it?

And you don't have to do either/or, you are free to mix it up...

[YoungCrocket]

You make a good point there. I should definitely avoid having a dull harmony. My problem is that I always end up with too much going on in my tracks. I add too many voices and elements to the point where it kind of becomes a wash. I've been trying to simplify lately which led me to my original conclusion. Like you said though, most of it is probably context.

I think that what I'm trying to get at here is something more fundamental. Should the underlying harmony of a song be treated as one element or multiple elements? What kind of identity should should the harmony have in relationship to the melody? (I just asked the basic question behind music theory lol). I guess it depends whether I want the listeners focus to be more on the harmony or the melody. I apologize for being so broad and somewhat vague but I'm self taught so I often don't have the correct musical terminology to describe my situation.

This question of course depends on the context and in this case it's EDM, specifically, melodic dubstep. I think the next step for me will be to take more time to study popular tracks in this genre to better understand the structure. If you do have any information regarding harmony in this context that would be great, otherwise I'll get to studying lol.

Thanks for your reply though, it has helped me put my original question into context and has given me a future direction for study.

Take care!

[jancivil]

Should the underlying harmony of a song be treated as one element or multiple elements?

Well, this is a compositional decision: what is the idea to be? Refer to my other reply in your other thread; there are different musics with differing or even opposite approaches.

What kind of identity should should the harmony have in relationship to the melody?

Well, a harmony in strict parallel to the melody is a perfectly cromulent musical idea.
In jazz it's called planing. Or it's like, you could set a multi-osc synth to an interesting chord-thing and play single lines and discover a whole new thing. There may be lines available now you never thought of, depending on the complexity of the chord-thing and the complexity of the lines.

And there is music which is quite free and has no harmony in the conventional sense ie., it's all lines intertwining and they may have stronger, or may have more supportive identities; and this may well be all in flux. The ideal in contrapuntal writing is that your lines are essentially all melodically viable.

[Hooj]

Hi everyone,

My question is basically in the title, is it best practice to use contrary or parallel motion in a bass line under a chord progression?

not sure I understand your 'specific' question.... Move contrary or parallel to what?... the melody, a specific voice in your harmony???

It's late, so maybe I need to re-read your question tomorrow but for now I'm not entirely sure what you're asking. Maybe you could post your chord progression (and how it's voiced).

[YoungCrocket]

Thanks again jancivil, your the best. Theory is so immersive, I love it and plan to use those tips in my future productions.

Hooj, I was referring to the overall movement of the chord progression, I have sidechained block chords playing that are being reinforced by a sub bass in a lower voicing than the root of the chords. I know that harmony and melody often use contrary motion but I wasn't so sure what the common approach for the bass line in relationship to the harmony (in this case my chord progression) would be.