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The Bass

A quick review of the bass is useful. The lazy student will often write bass lines that rarely go above the
staff. Since half of the range is written above the staff, such a student would create limited bass lines.
A standard 4 string bass has open strings on E, A, D, and G. See below for their octave locations. Each
string has about an octave and a half range, also shown below. Obviously, the writer doesn't need to be
afraid of writing above the staff.

E string

Written

? w
w

Sounds

w
w

A string

D string

G string

w
w

w
w

w
w

w
w

w
w

w
w

The extreme ranges of this instrument, like any instrument, should be reserved for special moments.
Extreme ranges project higher energy levels than the middle range.
The bottom 5th of the range is strong and provides a lot of support. Pitch definition can sometimes be
less distinct though. So, use the bottom 5th at moments and on chords that need/want strength. Avoid
active or complicated lines in the bottom 5th.
The highest 5th of the range is weaker and doesn't project too strongly. It's use should be likened to
whispering in verbal language. It draws the listener in and is delicate.
Keep in mind the bass is a transposing instrument. It sounds an octave lower than where written. When
writing a bass line with counterpoint, keep in mind how it will interact with lower melodic lines.
One additional consideration: be careful of writing consecutive leaps of a 4th. This causes awkward
fingering and is difficult especially on unfretted basses.

Walking Bass in Counterpoint


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For walking bass lines:

1. Be sure to use the same chord scale in all parts. For example, if there are are altered 9ths on a dom7 being
used in the melody/counterpoint, the don't walk the bass line 1-2-3-5. The natural 2 (9) would conflict with the
melody/counterpoint. You would have to use a bass pattern that uses the altered 9ths.

2. If similar motion is in the upper voices, try to use contrary motion in the bass part. This may not be the most
important thing to remember. But if the option is available, it makes a good texture.

3. The function of a walking bass part is rhythmic as well as harmonic. It serves in a time keeping role by
playing the beat - which keeps the forward motion going. This time keeping role is why the walking bass does not
have to coincide with ensemble anticipations on a beat to beat level. Flams are not noticed. However, at the
point of an rhythm section break (like for solo pickups), if the ensemble anticipates then all the rhythm section
including the bass should anticipate. This means the last two bass notes will be eighths.

D-7

& 44 .
? 44

G7

Cmaj7

.
.

? 44 #

.
J

J
solo break
J

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Walking Bass in Counterpoint


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4. The bass line should outline the chord structure. See examples of typical patterns below.
If an important chord tone is missing from the upper voices (for reasons of melody or interval control) then
try to include it in the bass line.

Cmaj7

Cmaj7

?
1

Cmaj7

?
1

Cmaj7

Whenever the chord changes, put the root on the first beat of the chord as much as possible. Also be aware
of any strong beat. If an avoid note lands in weak position, chord sound will not be effected. If an avoid
note lands in strong position then chord sound will be changed. In the 8-7-6-5-4 example above, it will sound
like an Fmaj7 occurs in the second bar. Below are some ways of aiming for a strong chord tone in the second
bar.

Cmaj7

Cmaj7

Cmaj7

8 8 7 6

8 7 6 b6

8 7 6 #4

Make sure chromatics don't conflict with melody/counterpoint parts or suggest unintended chords.
Repeated notes are common. In fact they can be desirable to avoid possible awkward lines.

F -7 5 Fmaj7

# b
?# n

E-7

E dim7

D-7

G7

Be careful of excessive leaping. Sometimes it can be technically difficult. The character of walking bass
is mostly scalewise motion.

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Walking Bass in Counterpoint


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5. Use of significant chord connections across a chord change instead of motion to a root is okay occasionally.
If you do this, immediately follow with the root for clarity. This will reemphasize the true harmony. If you
don't, you may suggest a different chord. Remember there is no harmonic comping going on, so the impression
of an inversion isn't automatic. It's best not to do this very much. Otherwise the sense of root motion is lost.

D-7

G7

?
1

b7

Cmaj7

6. Look for suggestions of passing or auxiliary chords in the upper voices. Then incorporate notes which
complete or coincide with that chord in your bass line. This will help create a "clean" line, one that doesn't
create uncontrolled dissonances. The passing chords aren't neccessarily heard as part of the progression, but
they create logical consonant vertical relationships.

B maj7

b
b
&
? bb

j J
J

E 7

? bb

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A 7

n b

Walking Bass in Counterpoint


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7. Be careful of conflict notes: notes that fill in clusters or create undesirable dissonances (especially with
lower register upper voices).
When melody, counterpoint, and bass are on neighboring tones of a scale at the same time, they would create a
cluster if all notes sounded in the same octave. This means there is multiple dissonant intervals sounding. As
with all dissonances, sometimes it works and sometimes not.
At point #1 below, a "cluster" is created by the C, A, and B. This is not a good situation. It involves an
unresolved harsh dissonance. The bass note is the avoid note of the chord.
At point #2, a "cluster" is created by the A, F, and G. This one works. All notes are part of the harmony. The
bass note is the root of the chord.

D-7

&

G7

Cmaj7

j
w

8. Additional thoughts
Be careful of passing tones in the walking bass line. Where ever they are used, there is the potential for
uncontrolled dissonance. Always check the vertical relationships. When they are harmonic avoid notes and
used in strong position, they can create the sound of a new chord.
Since it is a written texture, make full use of the range of the bass, as is appropriate. Reserve the bottom
5th for strong moments when a lot of "bottom" is desired, like climax areas for example.
Avoid the tendency to write "sine-wave" lines. "Sine-wave" lines go up one bar and down the next, repeating
the pattern over and over. Strive to create broad smooth lines.

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Bass Line Homework

Name

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Write a walking bass line for the given (admitedly busy) counterpoint. Submit a Finale file or pdf and mp3
combination.
Homework templates can be found at http://classes.berklee.edu/bpilkington/CP361folder/BassCP.html.
Remember, don't get stuck in a narrow range of the bass' register. Also, avoid the "sine-wave" type of line.

b 4
& bb4

Flugelhorn

? b b 44
b

Trombone

? b b 44
b
Bass

j j
. .
J b .
J

bb
j .
j
b

&

( ) J .
? bb
J
b
C-7

? bb

E maj7

.
J

J .

j
. .
.

.
J
J

.
.

G7 9

B -7

D-7 5

E 7

b

J

T
A n .
J

b .

( )J
J

A maj7

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