pedal point storytelling
Step One: Listen to a song and realize I want to learn how to play the bass line from it.
Step Two: Buy a bass guitar and accoutrements.
Step Three: Watch YouTube videos on how to play the bass.
Step Four: Go down the beginner bass YouTube video rabbit hole and stumble upon this video about why Bon Jovi’s bass line from Livin’ on a Prayer kicks ass.
Step Four point Five: Cringe slightly because I was [muffled] years old when that song came out. But then get over it fast because the video is highly entertaining and—I thought—interesting. At least it’s interesting if you’re trying to learn how to play the bass.
Step Five: Have an epiphany that Pedal Point as described in that video (along with melodic runs) is exactly how I plot stories.
I looked up pedal point, which Britannica defines as a tone sustained through several changes of harmony that may be consonant or dissonant with it.
I have no idea what that means.
But what I understand Pedal Point to mean is that a song has certain musical goals, if you will. Signposts. The song works if the whole band gets to C or G or D or whatever at a certain point in time. But how the musician gets to that goal point is up to them. The bass player stays on the low note until everyone comes back together.
Then there’s the melodic run. You can take a direct way or a fancy way, but if you hit those note goals (everyone is on G at the same time) then it will sound good.
I’m sure I’m completely simplifying and getting it all wrong. Watch the video. I was blown away at how many variations he had on the bass line for Livin’ on a Prayer.
But I thought, pedal point and melodic runs. That’s exactly how I plot.
I know there are certain things that I want the book to accomplish. I want the characters to have the C, G, and D experience, in that order. But I kind of don’t care how I get there because those notes are the most important ones for the book. And I can make it as direct or as fancy as I want.
And yeah, that’s my new bass. And my porg. Don’t judge.
