Yo bassplayers. Help me out.

[Roel]

We are talking about harmony, so it's the notes your talking about when you say V IV.....Duerh! Sometimes I amaze myself with my own stupidity

Nope... There I was talking chords. Pretty confusing, yes... The relation between those chords and the original key. Pfiew. That's what schoenberg tries to explain with modes on some cases. But it's not modes... It's like a very short modulation, consisting of only a V-I cadence, where the I is for example the V of your original key. But it's not a modulation, since it's to short. It doesn't sound like a modulation either... It's used to emphasize the chord following the secondary dominant.
An example of this would be hmmm...
First take an ordinary I IV V I in C, this is C F G7 C
Then you put in the V of G before the G-chord. (Notated as [V])
This gives: I IV [V] V I, or C F D7 G7 C
In the bass you can use a chromatic line, F F# G which is quite powerfull... Really gives extra tension in a progression.

You can also see it as a I IV ii V I progression in which you substitute the ii for II or [V]... (ii being a minor chord, II a major chord...)

Foo, I'm gonna give it a try. Thanks, might be a good idea, thje dissonnant b9 in the melody could give nice tension...

 

[daveirwin]

alt diminished chords

Changing to Bb dim is just replacing the e dim with an inversion
and might inspire some new ideas for the bass line. It is not intended to replace all E's with all Bb's.

Dave

 

[cordura21]

have mercy, he is only a bass player!

as a bass player myself, I can assure you you're gonna overload his mind qith all this data in a way that you gonna end picking up the pieces of his semi-brain off the carpet.

 

[Roel]

as a bass player myself, I can assure you you're gonna overload his mind qith all this data in a way that you gonna end picking up the pieces of his semi-brain off the carpet.

He doesn't have to know all this... I'm just gonna give him a progression, he has to play either the tonic and the fifth of the chord (the diminished fifth, or whatever you call it for diminished chords), or the tonic and the seventh(either major or minor) in the bridge. (jup, there's a bridge too, that's what they got for asking me to write it out. ) But the bridge is simple, just a scale downwards for the bass.

Have merci on me. This is one of the few tunes I wrote, and it's pretty basic too, and they all complain when I start about it. The singer says he wants to record it (with sequencer, sampler,...) with me, and maybe use it on a demo or something, but not play it live, cause it's to hard. It's easy! I can play it on the piano, melody chords AND bassline almost sightreading. If this doesn't fry his brain, then alcohol will do it anyway. And it'll keep 'em from drinking on concerts. They'll f*ck up the first time they play this live, and get big fears of not being able to concentrate on stage... It's really for their own good....

 

[foo]

. . . and we all know that with Belgian beer, they'll only be able to play 'Proud Mary' all night!



foo