The Birth of a Bass Line


One of the things I enjoy doing most as a bass player is creating bass lines that complement a groove or song. Creating a good bass line requires us to use our inventiveness and good judgment. Our lines should be influenced by what we hear combined with where we feel our ëspaceí is in the music. In other words, it is an interactive process that requires us to be sensitive to the other players and the parts they are playing.

There are many factors you should consider when composing a bass line. Here are three of the most basic that you should consider when assembling your ideas:

1. Activity Level - How busy is the music? Does it come across as sounding cluttered, or more spacious? What are the roles of the drums and other rhythm section instruments? Does the song have vocals? If so, how much space has been left for them?

Most of us at one time or another have picked up on the fact that the bass and drums have a unique and complementary relationship within most styles of music. When the two are ëlockedí, it is hard to ignore the strength of the driving force of the rhythm section. You might assume that a bass player and drummer performing the exact same rhythm or pattern would contribute to the strength of the groove. However, this is not always the case. In fact, you will find most often that when a drummer and bass player are competing for the same rhythmic space, the individual strength of each part diminishes, and neither part will stand out as much as if it was played alone. As I mentioned previously, the drum and bass parts should be complementary. They should effectively embellish each other and work together to make the groove even stronger.

2. Dynamics - How loud or soft is the passage? Does the music have a sense of urgency, or is it more laid back? If the song has lyrics, does the music accurately reflect the emotion of what is being sung about? Does your bass tone complement the dynamics of the other instruments? Is the technique you are using (slap/pop, fingerstyle, etc.) appropriate for the dynamics of the music? Is the volume of the bass appropriate for the passage?

Dynamics are often forgotten about in the world of electric instruments. Sometimes we assume that if weíre playing through an amp, we only control our volume with the volume knob. Remember that our volume control should only provide the dynamic threshold for our loudest passages; the rest is up to our hands! Acoustic players are already well aware of this fact. Donít be afraid to ease up on the volume by lightening up your touch with your hands. Be sensitive to the way the dynamics modulate between louder and softer passages. This applies to all styles of music, and the greatest players always incorporate good use of dynamics in their playing.

3. Harmonic Content - What are the chord changes you are playing over? Is there even a chord change implied? Should you only play roots of chords, or something more complicated? Do you need your bass line to sound more melodic? If so, what scales, modes, or arpeggios will fit the context of the chord changes? Is your bass line compatible with what is happening harmonically with the other instruments? What is the responsibility of the bass in the context of the song?

Chords are the building blocks of harmony, so it makes sense that we should pay attention to them when composing a bass line. Chord changes pretty much dictate what we should or should not play in most compositional situations. Those of you who have had some instruction or lessons on harmonization and scales have probably at one time or another used that information to help you with a bass line. However, be careful not to overuse this knowledge. Less experienced players sometimes have a tendency to force the use of a particular scale or pattern when they encounter a chord that they know is compatible in the song. The end result is often a bass line that is too complicated or busy, or ends up sounding out of place or contrived. In preventing this, the bottom line is to make sure that you are truly using your ears to determine what to play, and not your hands. Try to always listen to songs you are working on objectively, and strive to choose only the notes that truly have a sensible and meaningful place in the music.

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