A Quote by Paul Simon
Instead of thinking in terms of chords, I think of voice-leading; that is, melody line and bass line, and where the bass line goes. If you do that, you'll have the right chord. [These voices] will give you some alternatives, and you can play those different alternatives to hear which one suits your ear. Keep the bass line moving so you don't stay in one spot: if you have an interesting bass line and you roll it against the melody, the chords are going to come out right.
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Even if chords are simple, they should rub. They should have dissonances in them. I've always used a lot of alternate bass lines, suspensions, widely spaced voicings. Dfferent textures to get very warm chords. Sometimes you're setting up strange chords by placing a chord in front of it that's going to set it off like a diamond in a gold band. It's not just finding interesting chords, it's how you sequence them, like stringing together pearls on a string. ... Interesting chords will compel interesting melodies. It's very hard to write a boring melody to an interesting chord sequence.
If his voice hasn't been the melody of my life, it's been the bass line, so subtle you don't notice it until it's missing.
Maybe that's what makes my stuff different, 'cause I write it all on the bass. I can't play but a few chords on the guitar, so the bass works just fine for me.
Things inspiring me - good melody, a great bass line, a fabulous voice... by which I mean someone who sounds great, rather than does pyrotechnics... and people playing really musically. Music is endlessly fascinating.
If you're going to play bass, then play bass how you play bass. You can learn technique and theory, but we want to hear what you have to offer.
I'll sing over some chords, searching, what does [the music] conjure up, where's the melody taking you? I deliberate over the lyrics, I really do. I'll come up with one line in a day, and then it might be a couple of days before I come up with the rhyming line. It's never been easy for me.
I often use a return channel to get some shape out of the bass. It's a good way to split the frequencies of the bass so that the sub bass is clean and in mono and the higher end of the bass sound can be filtered off - have it on an audio channel and that's where you can use effects.
Teddy Wilson, I think, said a little while ago that its much easier to come in and play whatever comes into your mind, without obeying any of the laws of bass line and harmony and so on.
Teddy Wilson, I think, said a little while ago that it's much easier to come in and play whatever comes into your mind, without obeying any of the laws of bass line and harmony and so on.
Sometimes, as a comedian, a line will come to you, that is so beautiful, so perfect, that you think: I did not create this line. This line belongs to all of us. Surely this is a line of God
Sometimes, as a comedian, a line will come to you, that is so beautiful, so perfect, that you think: I did not create this line. This line belongs to all of us. Surely this is a line of God.
'Take My Breath Away' had that interesting bass line, which I hear quite often. It had that terrible change of key, which Terri Nunn hated, but I loved.
I feel my spot is somewhere between a bass player and a rhythm guitar player. I play with a pick. I play very aggressively. I always have a distortion pedal in line, and I play less melodies and do more stuff against the guitars that create melodies.
In 1972, I got my first electric bass and started playing the kind of instrument I play now. I found that the majority of musicians couldn't bear that. They are not used to listening to the bass because they think the bass is in the background to support them.
Since I was a kid, I always wanted to figure out how to make a bass line that was a pendulum - like, gravity would control it, and then you could make it play different notes.
I don't like using fourths and fifths. Instead, I'll come up with a harmony line made up of major and minor thirds above the melody, then I'll drop it down an octave so that the melody is on top and the harmony line is major and minor sixths below it.
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