Progression # 6 exaggerates movement and space , making the progression feel bigger : G / D , D / F #, Em , C / G
Progression # 7 offers minimal movement , so the tonic drone is never lost for long : G , D / A , Em / G , C / G
Each of these variations within the same structure can prove useful , and all of these ideas have their place .
I ’ ve only used roots , thirds and fifths here , but you can take it a lot further than that . There are endless possibilities for how ( and where ) to let any given chord speak differently . The examples provided here utilize variations throughout a progression , but an entire progression doesn ’ t need to be littered with alternate bass notes for their usage to be effective . Just one chord with an alternate bass note can make all the difference in the context of any given progression , and whether you use alternate bass notes often or sparingly , they can yield powerful results in your songwriting .
For a popular current example , listen to Elevation ’ s “ Do It Again ” [ see video ]. Imagine it without those alternate bass placements shaping the chordal flow of the intro and verses . The chords move from Ebmaj7 to Bb / D . The Eb bass to a D bass demands the attention of your ear as it yo-yo ’ s back and forth that simple halfstep . Those two notes glue everything together in a way that the standard chords would not . They shape the ebb and flow so that the chords feel more intimate with each other despite being a full 4th apart . The end result is almost like the song is inhaling and exhaling . Everything is tethered together and carries an immediacy . Nothing is moving that doesn ’ t need to . It ’ s all very centering .
Of course , the song would not be at all the same without this feature . It also sets up the end of each verse , where the band utilizes a standard Bb with no alternate bass , and suddenly a plain major chord feels refreshing and exciting , like we ’ ve arrived somewhere . Like we ’ ve moved from the clouds to the ground . We ’ ve gone from exploration to home , and all by simply holding back the standard expression of the tonic chord .
( Side note : Elevation also varies the main Ebmaj7 to Bb / D motif of the verse by making the final Eb voicing of each stanza an Eb6 instead of an Ebmaj7 . Changing that interval has a similar effect on moving the progression away from its lilting , hovering quality and bringing it down to earth , but that is for a discussion beyond our focus here .)
The alternate bass notes continue to then shape the chorus , bringing immediacy and the feeling of things “ building ” even as the dynamic remains fairly subdued . This is because , rather than sticking to the roots of the chords and playing Eb , F , Bb and Eb again , the chorus goes from Eb / G , to F / A , to Bb , and finally to a standard Eb . This connects the chords so that they ’ re sharing a more cohesive conversation . Because of these unambiguous choices for the bass notes , the chorus chords feel like they ’ re ascending a hill together . When the chorus ends , it has finished its ascent and dropped us back in the clouds , where the sway of the original verse motif takes over once again .
If you note the feelings evoked by these choices with the chords , you can next consider the lyrics to see how they benefit from those choices . As you look over them , you ’ ll see the chords are doing everything the words are saying . They are accentuating the flow of themes and phrases the song has to offer . They breathe and teeter when the words do . They land on solid ground when the words do . They build when the words do .
It ’ s easy to see from this example why our songs can benefit from these tools .
And that brings me to a prescriptive point . If you find yourself confused about where and how these ideas might fit into the songs you ’ re working on , you might try allowing the lyrics to guide you . What they ’ re expressing and evoking can tell you exactly how to support them . You
can even go back through completed songs to see how they ’ d benefit from simple changes at the baseline , or rather , bass line ."
To return to my opening analogy , each chord is that statue in a dark room . And each chord presents an opportunity to move the light around — to let the highlights and shadows fall where they should .
Let ’ s move the light around .
For further consideration : A true master of this alternate bass note technique is the Beach Boys ’ Brian Wilson . See the link below for some inspiration with your chord progressions , and be on the lookout for all the note information to the right of every slash in the written chords . Remarkable stuff .
Until next time .
“ Do It Again ” by Elevation Worship
“ God Only Knows ” by The Beach Boys
Kevin MacDougall Worship leader , published and recorded songwriter , musician and podcast producer . macdougall . k @ gmail . com