80 20 Bass Rule PDF

Hello revolutionary music makers, we are Kate and Ray Harmony
(AKA Revolution Harmony), and welcome to Hack Music Theory,
where we help you make great music that stands out!

If you’re new to theory, or if you just want a refresher, then read our
free book. It’ll give you a super solid music theory foundation in
just 30 minutes!

Now, in this PDF, you’ll learn the secret 80/20 bass rule that will
forever change the way you write bass lines. But first… Tea!

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THIS IS NOT A BASS LINE

Right, so here’s what a regular bass line sounds like, and this was written in the
same way that most bass lines are written these days.

MIDI Screenshot: Bass exclusively playing root note of each chord – this is not a bass line!

It’s in the key of A minor, so that’s all the white notes from A to A, and the chords
are: Am→Em→Cmaj→Dsus2. Now, because most songwriters and producers
don’t know about the secret 80/20 bass rule, most bass lines nowadays simply copy
the chord progression by playing the root note of each chord. So in the example
above, the bass copied the chords by playing: A→E→C→D. But, that is not a bass
line, that is merely the root note of each chord. And that is not a musical approach
to bass, it’s a sonic approach, because the bass is so boring that it actually blends
into the background and is heard as a frequency, not an instrument!

When we approach bass from a musical perspective, we realise that it obviously
wants (and deserves) its own melody. However, this is where we run into the bass
paradox: To give the bass an independent melody, it needs to venture off the root
note of each chord, but if it does that, then it takes away the music’s stability as it’s
no longer providing a solid foundation for the other instruments. So, how can you
write a bass line that’s both a solid foundation and also an independent melody?

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That’s where the 80/20 bass rule comes in. It’s so simple: it is the percentage of
time spent on root notes versus the percentage of time spent on other notes.

Root notes in the bass build a solid foundation, but it’s the non-root notes that
transform the bass into an independent melody. This is the magic bass balance.
Get it right, and your bass lines are pure magic! Get it wrong, and it could literally
ruin your whole song. If your bass spends too much time on root notes, it’ll be
nothing more than a frequency. On the other hand, if your bass spends too much
time on non-root notes, it’ll step forward into the spotlight like a diva and start
stealing attention from your lead melody. Remember, the spotlight is only big
enough for one!

THIS IS A BASS LINE

So, what’s the perfect ratio? 80% roots, 20 % non-roots.

And obviously every song is different, and every section within every song is
different, but the 80/20 rule will ensure that every bass line you write starts out in
the sweetspot, then you can adjust the percentage up or down, depending on what
the other instruments are doing. For example, if there isn’t a lead melody in a
section, then there’s space for your bass to step forward and take the spotlight,
without any musical fights! However, if a section has a lead melody and a backing
melody, then your bass should definitely spend a little more time on root notes, for
extra stability.

In our example, our bass line is 81% root notes and 19% non-root notes. And of
course, you don’t actually have to calculate the exact percentage, just get it
somewhere in the 80/20 sweetspot.

By the way, if you want our step-by-step guide for writing great bass lines, then
download our Songwriting & Producing PDF, which also contains all our
other essential music making hacks.


HackMusicTheory.com

MIDI Screenshot: Bass line with about 80% roots and 20% non-roots (highlighted)

NON-ROOTS

Finally, let’s talk about those non-root notes. There are three possibilities for these:
harmonic notes, non-harmonic notes, and non-diatonic notes.

Harmonic notes are notes that are in the chord. For example, over the Am chord,
the harmonic notes are A, C and E. And A is obviously the root, so the options are
C and E. Next, non-harmonic notes are notes that are not in the chord, but are still
in the scale. So over the Am chord, the non-harmonic notes are B, D, F and G.
Then lastly, non-diatonic notes are not in the chord either, but they’re not even in
the scale. These notes are super spicy, so in the same way that you don’t add chili
peppers to every meal, you don’t wanna add non-diatonic notes to every bass line.

In our example, we do actually play a non-diatonic note (C♯) under every other
Dsus2 chord. But, it’s just a 1/16 note. That’s like throwing a tiny sliver of chili
pepper into the pot for flavour, not for heat. Okay now we’re hungry, but before
we head off to cook up a yummy vegan chili, we’d love to share one more thing
with you…

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Regarding the current situation around the world. As music teachers, we can’t offer
much help through this difficult time. However, as most people are now stuck at
home, what we can offer, is a meaningful and productive timeout from the
difficulties. It’s with that intention in our hearts that we offer you…

50% OFF Apprenticeship #1
(online course)

It contains 17 hours of video that teach every step of the writing process, from
blank screen to finished song. You will literally learn everything you need to know
in order to write great songs, and finish them!

We know that most people are sadly on unpaid leave right now, so we hope this
half-price offer helps alleviate some suffering, and we truly hope you and your
families are all safe and healthy.

Lastly, please remember that music is magic, so keep pumping those uplifting
tunes! Thanks for being here, and happy songwriting and producing :)

HackMusicTheory.com

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©2020 Revolution Harmony

©2020 Revolution Harmony

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