Contemporary Christian Music

[Blille]

Thank you guys. There is too much info here to comment on everything, but I did have two questions that this brought to mind.

The root +12 interval, how do I use that? I've been practicing it in different contexts and I can't quite figure it out.

Sorry, 12 was a typo, it’s the 10th (still a 3rd up an octave).

In many CCMs there are moments where you play a note per bar. The guitar is swelling, drums are really light or out. There, instead of playing just the root note, play the R+10.

If the band is playing a chord more complex than just a standard major, minor, or 7th chord, should I change the triad I'm using? Such as an A2, is it best to avoid the major 2nd?

Generally I think it’s fine to use them to color and as accents (an octave up) but I think it’s safer to let the keys and guitar use those. If you’re not careful and play the 2 in an A2 on the third beat for example it may sound like you moved to B7sus4. But playing it on an upbeat or on your way to the third or an octave higher may be fine.

Also, I basically only need two scale positions on bass right? The one where the root is on the first and the one where the root is on the second string?

That’s plenty

Also is it worth buying a 5 string simply for the added benefit of being able to play a lower D? Sometimes the open D string is a bit excessive.

I love 5 string so I would say yes. The advantage is not just the extra notes but also the fact that you don’t need to move down the neck so much (eg you can play the F on the 6th fret instead of having to go down).

THAT said, if what you want is to hit the low D, you can: get a hipshot D tuner, tune a tone down to DGCF, tune a 4 string like the bottom 4 of a 5 (BEAD).

 

[Chistopher]

^^All bass players should own a 5 string, even if they don't use it all that much. It's a great tool to change how you use the instrument every now and then.

 

['59]

This has all been very helpful thank you.

 

[Blille]

This has all been very helpful thank you.

How’s it working out?

 

['59]

It's been going pretty well. The hard part right now is understanding how differently bass creates and resolves tension compared to guitar.

Also one other question I have. We've got this one song where the first 24 measures are C5 and I don't really know what the general philosophy is for long passages of a single chord. Right now I'm not playing the first 8, flourishing, and then the next 16 I just play a rythmn on the C note to complement the bass drum pattern and occasionally use a G as a grace note. It works alright but I feel there's something more I can do. Any ways to experiment in this situation?

 

[Blille]

It's been going pretty well. The hard part right now is understanding how differently bass creates and resolves tension compared to guitar.

Also one other question I have. We've got this one song where the first 24 measures are C5 and I don't really know what the general philosophy is for long passages of a single chord. Right now I'm not playing the first 8, flourishing, and then the next 16 I just play a rythmn on the C note to complement the bass drum pattern and occasionally use a G as a grace note. It works alright but I feel there's something more I can do. Any ways to experiment in this situation?

Great to hear.

Is it a song that is recorded or a hymn?

If it’s a known song I’ll gladly listen to it and tell you how I would approach it. What you’re saying makes sense from what I know.

 

[Clint 55]

The general philosophy for 1 chord is how much drama is called for. Since you can do whatever you want underneath a power chord and the bass won't clash. Maybe the drama would be low in this instance since it's the beginning of the song but you'd have to specify. What you're describing of only C and G is the bare bones approach which is totally viable. Other options would be to sequence a bass line with a few more notes in it, or have the bass part build and build the song.

 

[Ascension]

It's been going pretty well. The hard part right now is understanding how differently bass creates and resolves tension compared to guitar.

Also one other question I have. We've got this one song where the first 24 measures are C5 and I don't really know what the general philosophy is for long passages of a single chord. Right now I'm not playing the first 8, flourishing, and then the next 16 I just play a rythmn on the C note to complement the bass drum pattern and occasionally use a G as a grace note. It works alright but I feel there's something more I can do. Any ways to experiment in this situation?

Good to hear. What kind of stuff are you guys doing? P&W and Gospel covers a LOT of territory so--. Knowing what kind of material your doing would help.
Here is a fun clip with me playing guitar with some local players from different churches in a community worship night. We kinda got off the script here and just got loose LOL!

 

[ErikH]

Under a single chord, play octaves. If it's a C, play the root C and then pop the octave up C in time. Stay in the pocket and keep with the drummer. Less is more in many cases.

 

[Blille]

Less is more in many cases.

Fun fact: at yesterday’s rehearsal told me to play less busy in one of the songs lol