There is then a release to the tension created by the high C# when the low B note hits on the downbeat in the second half of bar seven. It’s also the highest note in the whole eight-bar line, so it really rubs in the rhythmic effect. In the second four bars of the bassline, the high C# note at the end of bar six is another example of emphasizing off beats, as it hits on the last eighth note in its bar. This is because of the rhythmic tension the off-beats will create, compared to the release when the bass finally hits the downbeats. For example when it hits the B on a downbeat at the end of the third bar. It’s common for root notes to be the first notes you hear when the chord changes, but this is a good way to spice them up.Īvoiding the downbeats for the first few bars will make the times you actually do catch the downbeats later much more impactful. Students start by learning the piano keyboard to increase understanding of intervals. Each page features exercises and games that encompass music fundamentals introduced in the method books. The A# in bar two plays on the third eighth note and the B plays on bar four’s last eighth note. The All For Strings Theory Workbooks 1 and 2 are companions to the All For Strings method books and are suitable for classroom or individual use. This creates a rhythmic contrast with the drums.įrom the start, the first G# comes in on the second eighth note. Let’s start by taking a look at the timings of the main sustained notes in the line.ĭuring the first four bars of this progression, all three of our root notes are played on off-beats, which means notes that aren’t located on downbeats. We are using a sub-sample layered with the pluck-bass-style REFLEKTION preset, and Spitfire Audio’s Aperture – The Stack instrument.īassline Technique #1: Emphasizing Off-Beats As ever, click any image to see a larger version. N.B: We recommend following along with headphones or studio monitors as some of these results can be subtle. Here’s the bassline we are creating, looped twice: As we progress, we’ll look at composition tricks like expanding note range, writing fills, experimenting with variation in rhythm and using dead notes. In this article we’ll be breaking down an eight-bar bassline we created over a house-friendly chord progression. Many producers settle for simple loops that are usually based around root notes, and don’t get us wrong, there’s nothing wrong with a minimal catchy bassline! However, a few simple techniques can elevate your bass parts to a whole new level. That said, one subject that is not discussed nearly as much as it should be are synth basslines. We’ve spent a lot of time in the Passing Notes series on chords, pads and general music theory. In this new Passing Notes, we look at techniques you can apply to transform your synth bass lines from basic loops into one of the catchiest aspects of your track.
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