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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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ELCBK said
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?
There is a bit of syncopation and what might seem as polyrhythm going on from bar 27. What appears as polyrhythm is with the quarter notes against the dotted eighth/sixteenth not rhythms. HOWEVER, those were written in a way that they are not really polyrhythms and quite measurable against the quarter notes.
It's most definitely syncopation in that the beats from measure 27, 28.... shift and are mostly not on the quarter notes.
@Fiddlerman -
Can you PLEEEZE help clear this up for me?
You did such a GREAT job arranging the 2012 Halloween GP (before my time)!
Thank you, hope that this makes sense.
"The richest person is not the one who has the most,
but the one who needs the least."
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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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