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If you've never played a rhythm instrument, you may not know that a "Bassline" is usually the lower voice and is responsible for emphasizing Rhythm & Harmony. Riffs, Grooves can come into play with the Chord Progression being of great importance.
Chord Progressions for Improv Thread
Helpful Tips - Start Learning to Play Backup For Fiddle Tunes Thread- several tune tutorials here that include backup!
Sometimes the Bassline is in a 'Backing Track' - sometimes played along with melody on our Violin/Viola!
"How to Create a Bass Line on Violin/Cello" - Christian Howes!
WOW, THIS IS RIGHT UP MY ALLEY!
Part of my learning journey, so appreciate corrections and additional info!
...sure wish I could get 'Octave Strings' for my 5-string VIOLA!

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Sorry, it's another "sweep the room & take out the trash Day", inside my mind...
Discussions in different threads, like the Chord Progressions Thread & even more recently about the Wexford Carol GP, has made me thirsty for a better understanding of how important a bassline is in arrangements - how much drive & emotion it can add. .
Maybe playing a little piano as a child, I took the bassline for granted - I mean, yeah, music sounded 'better' with some harmony, but I didn't really understand it's full role in music.
With violin, it was only 'melody' that was of any concern to me - and I think, again, I probably mistook backing as just harmony, or a supportive base for the melody - as passive, NOT active. BUT, one thing that has been important to me - searching for ideas/ways to perceive/play the bassline as an integral part of a violin/viola melody - not something separate.
Come to think of it... I've played around with adding 'walking bass' on my 5-string Viola, while playing tunes like "Boogie Woogie Bugle Boy" - relevant for incorporating bassline in a solo (?)
Some GREAT Violinists we've heard can play what seems like the melody along with bassline backing - at the same time, on one instrument!!! ...I'm happy if I can just sneak a little hint in with a tune.
🤔... don't think is was until the other day that I realized it wasn't just some harmony I wanted to add to melodies I play, but the emotional drive that chord changes in a progression can make.
I think everyone feels when these happen. ...even if it's only subconsciously - so, maybe I need to go back to the Chord Progressions Thread area & concentrate more on the specific notes in the chords, that actually change, in a progression... and maybe even go over chord functions, again.
Another thought crossed my mind... (yeah, I know 🥴)
What kind of music do you think benefits the most from using more complex cord progressions in a bassline - e.g., can they have any impact on the double stops used in a Solo, or the feeling in playing a duet? Or, are they only effective when used by a string quartet, or in larger arrangements?
The Scottish Piper Tunes Played on The Fiddle Thread got me thinking about taking advantage of different string tunings for more than just Cajun & Old Time tunes - maybe making it possible, or easier, to add a different range of harmony or a bassline, besides drones.
Does anyone else ever think about this stuff?

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ELCBK said
. . .
With violin, it was only 'melody' that was of any concern to me - and I think, again, I probably mistook backing as just harmony, or a supportive base for the melody - as passive, NOT active. BUT, one thing that has been important to me - searching for ideas/ways to perceive/play the bassline as an integral part of a violin/viola melody - not something separate. . . .
Does anyone else ever think about this stuff?
Yes, all the time That’s why I like to play duets!
I started playing duets with my teacher early on. Frankly, I was afraid to play by myself in front of her – I found it easier if we played something together. At first I only did the Violin 1 parts, but as I started to do the Violin 2 as well, I started to hear things differently. I became much more aware of what the harmony/ baseline brought out in the music.
I would encourage anyone to pick up a Violin 2/harmony part of a piece you've played the melody on - bet you see/hear it differently after that.
Characterize people by their actions and you will never be fooled by their words.

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@SharonC -
Thank you!
Your insight is invaluable and you make some GREAT points!
I had kinda blown off Violin Duets, because I've always felt the range of 4-string Violin was too limited for me.
Maybe I should see if I can find some Viola Duets 🤔 but I seem to remember... yes, Helen Bell has some great Viola/Viola and also 5-string Violin/Viola Duets - with sheet music available! Folkviola Duets - Helen Bell
Did you see all the Swedish Duets I just found? Nordic Folk Tune Archives Thread
There's all sorts and they all have sheet music & mp3's!
- Emily

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I may have just found some music to completely change my outlook on duets!
...this never crossed my mind!
🤣... love how Saher uses his voice like Rod Serling.
Glad I took a couple minutes while drinking my coffee to watch this! I'm always searching for what makes some music SO FABULOUS, and who doesn't LOVE this?
SUPER 'feel good' music!
I want to play around with it, but I've got so much on my plate already. 😳 ...it IS stirring up some new ideas for me, pertaining to my new looper, bluetooth switch control & octave pedal!
- Emily

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Hate that some things have been right in front of my nose & I couldn't see it!
I haven't been thinking of a baseline as much more than some harmony in the way of chords, a few notes/riffs and beat to help with the groove... 😖 - I'm making it sound like a glorified metronome.
Looking closer, at 'The Ghostbusters Theme', I see so much potential now for what I love about music - syncopation and polyrhythms can make it SO ALIVE!
BUT, is there 'polyrhythm' happening in The Ghostbuster's Theme... or 'syncopation' - in places like where the boogie rhythm enters or even later?
@Fiddlerman -
Can you PLEEEZE help clear this up for me?
You did such a GREAT job arranging the 2012 Halloween GP (before my time)!
Fiddlerman's International Halloween "Ghostbusters" Video Project Thread

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Found a great little interview with Ray Parker Jr. that sheds a little light on the Ghostbusters Theme!
Ray starts talking about what he actually plays at 11:20 - so, it's in 4/4 & I know he's playing on the 'offbeat' for some of it, but there's also an additional 3 beat rhythm!
I guess, unless someone can help me see it any differently - I think this has both polyrhythm AND syncopation.
...anyway, a delightful baseline!
Turns out Ray Parker Jr. is very interesting (from Detroit). He started playing the guitar at 10 after giving up the clarinet & sax - which he was good at, but felt he was just reading/playing the notes & nothing after that... until he picked up the guitar!
Tim Pierce did a great 3-part interview with Ray!

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@Fiddlerman -
THANK YOU SO MUCH!
Yes, what you did makes sense!
...and after going back & listening to Ray play in his interview (11:50) where he talks about "the other time", I think he's changes the meter (but he's not adding it to the other one) & it's fairly brief (the bridge?) - so it's NOT forming a 3:4 polyrhythm (like I originally thought it was).
...hope I'm starting getting some of this.
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