I have written a half decent lead, at least for my level, and I am now trying to harmonise a bass with it. I am employing one of the most basic kind of methods to achieve this - playing the root note of the lead with the bass, to harmonise it with the lead. Well, actually I read that this method is used with chords (where it would be the root of the chord, not the scale), though I am only writing a monophonic lead, (i.e no chords) for now, since I am just starting out.
These are my lead and bass notes:
Lead (Portato): Bass(legato): Harmonic value:
C *2 C Perfect consonance A# *1 C Weak Dissonance G *3 C Perfect Consonance F *2 F Perfect Consonance E *1 F **Strong Consonance** C *3 F Perfect Consonance
I think an image is in order:
A few things:
1. The bass is two octaves below the lead. 2. That white bar before the red is only to show that the two bars are separate by the way, it's hard to see otherwise :) 3. Also note (haha, get it, note?), that the notes do vary, but the set up is configured to display the notes all on the same line to show which notes come from what sound at any given time.
So what am concerned about is the notes of E coming from the lead, and the note of F coming from the bass, it doesn't sound out of place at the time (remember that the bass is played legato), but this is really just for future reference in case say, half the notes don't harmonise well. Also, I have no idea what the implications of this may be if I was to try and apply EQ, or add certain effects, and so on.
Since bass lines are usually grounded, in that they are played smooth and constant, where leads are pretty much the opposite, I wonder what the status quo is when it comes to harmonisation. Are there any rules of thumb? How strict should we follow the rules of harmonisation in respects to basses and leads?
One thing I notice is that there seems to be less and less dissonance as we play notes further and further apart, even when purposely playing only two notes which would be very dissonant within the same octave, such as E and F#, to a certain degree, even E and F.
My personal though by no means professional theory, is that the lower the pitch of a note note X, the less sidebinds there are, thus leading to neither consonance or dissonance.
Thanks for reading my post, it's very much appreciated! :)