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Composition for Computer Musicians by Michael Hewitt

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Chapter 7. Producing Basslines

The last chapter covered the relationship between the melodic lead and the bassline, and how it is necessary for them to complement one another. We’ll talk more about this subject in Chapter 9, “Melody, Bass, and Harmony.” In this chapter, though, the primary concerns are the principles involved in writing a good, clear, and effective bass line.

You can learn much about the process of writing basslines by watching and listening to good bassists. Think of the bassist in a jazz combo, for instance. Here, a popular instrument to provide the bass is the double bass, whose strings are plucked with the fingers. The double bass is a huge instrument, and to change the pitch of the note, the bassist needs to slide his fingers ...

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