|
Okay, when
we last met we got into areas like time signatures, common
structures/lengths of song sections, and achieving dynamics
in moving from one part of a composition to another. We
also outlined the importance of the bass line in writing
a song. This month, we'll get a little more into some
specific bass ideas, and talk about constructing a melody
for our "hit" song.
Conventional Bass & Beyond
Though I shared with you my personal feelings about the
role of the bass in songwriting last month, bear in mind
that I'm also speaking as a bassist, which you may not
consider yourself to be. With that in mind, I'd like to
offer some simple pointers on traditional bass concepts
for you to consider.
In almost all circumstances stylistically, the most potent
note for the bass role is simply the root. This means
the note C on a C chord, the note D on a D chord, and
so on. Even in a jazz bassist's walking line, the first
note on a chord change will almost always be the root.
The next logical choice, beyond the root, is usually the
fifth (G on a C chord). Latin music, such as sambas, bossa-novas,
etc, often features interplay between bass roots and fifths
(as does country & western), though the root clearly remains
the most important. There are exceptions, however, most
notably in a lot of pop music written over the past thirty
years or so.
You'll recall my mentioning, at the end of the first article
in this series, the use of optional chord personalities
and flavors? Well, one of the most effective ways of achieving
this is by using something other than the conventional
root bass. For instance, in the key of C you might wish
to try an F chord with a G bass (F/G), a G with a C bass
(G/C), a C with a D bass (C/D), a Dm with a G bass (Dm/G),
and so on. Another common and effective device is to keep
the bass on the same pitch while the chords shift harmonically
above it. Classically this is called a pedal bass, while
rock and pop guitarists have often referred to the technique
as a droned bass. Whatever you choose to call it, the
use of an unusual bass note in your song can really succeed,
at times, in breathing life into even the most simple
chords and progressions.
Bring On The Melody!
No, we haven't forgotten about you. You know what really
amazes me? In all these centuries of western music, composers
have been using the same twelve tones and harmonic concepts
for everything from Bach to the Beatles, yet originality
seems to spring eternal. I guess when you end up putting
all the parts together, determine a feel and tempo for
your creation, and add lyrics to a popular composition
(not currently my forte, incidentally), there's still
a lot of elbow room.
I mentioned before that it's a good idea to be aware of
basic scales prior to composing, but in all actuality
I end up thinking about them as a last resort for coming
up with my melody. I'll just play the chord progression
and try to hum what comes into my ear. This succeeds in
keeping my intellect and technical prowess as a guitarist/bassist
out of the picture, and I usually end up with a pretty
catchy melody that way. It's not a bad idea to be aware
of what scale governs the key that you're operating in,
but only long enough to toss some ideas back to your ear.
You want the melody to sound good, right?
Language, Time, & Experience
Language. Yes, there's that word again. You know, even
though my dad and I were both late starters to the composing
field, you'll recall my saying just how much arranging
we'd done prior to original writing? I think that there's
a lot to be said for exploring the music of other notable
songwriters. Besides enjoying their compositions, just
think of how much language you'll eventually end up absorbing
in the process. Countless chord progressions, melodies,
bass lines, etc, just waiting out there for you to discover
them.
When fellow musicians ask me about my influences as a
blues or jazz musician, I proudly cite them, and can easily
show that evidence every time that I play my instrument.
As a matter of fact, I frankly admit that I'd be nowhere
as a player without those influences. You know where I'm
going with this line of thinking, right? I thought so.
I feel very humble about my songwriting, but the time
& experience that I've gained from playing the music of
so many fabulous songwriters continues to influence me
in both a broad and creative direction. It'll do the same
for you, too. Just write. And play. And write. And play.
And... Good luck!
About
the author
Mark Stefani is a jazz guitarist and eduactor in Portland
Oregon. He has written many books in the guitar educational
field. In 1987 his career was spotlighted in Guitar
Player Magazine where he was described as possessing
a 'versatile style on both electric and acoustic guitars'
in addition to having a 'master's touch'. For more
info and to contact Mark go to www.visionmusic.com |
|
