The Descending Bassline
A descending bass progression begins with a line, not a list of chord roots. In C major, play C-B-A-G-F in the bass. Then harmonise it as C, G/B, Am, Am/G and F.
- 5 bass notes
- stepwise descent
- inversions and slash chords
same family
The progression
- C
- G/B
- Am
- Am/G
- F
Read the slash chords
| Symbol | Chord notes | Bass note |
|---|---|---|
| C | C E G | C |
| G/B | G B D | B |
| Am | A C E | A |
| Am/G | A C E over G | G |
| F | F A C | F |
G/B is a G major chord in first inversion because its third, B, is in the bass. Am/G places G under an A minor triad; you can also hear the complete sonority as Am7 in third inversion.
A slash does not mean division. The note after the slash is the performed bass note.
Why the line feels connected
Every bass note moves down by one scale step. The ear can therefore follow C-B-A-G-F as a melody in the lowest register, even while the harmony changes above it.
The upper parts can move economically too. C and E remain common tones across several positions, while individual voices step to nearby chord tones. Smooth bass plus smooth inner voices makes the progression flow without losing harmonic variety.
Compose it in the right order
- Write the basschoose a clear line such as C-B-A-G-F.
- List chords containing each noteB can support G/B, Em/B or B diminished.
- Choose by functiondecide whether each harmony should stabilise, open or intensify the phrase.
- Connect the upper voiceskeep common tones and avoid unnecessary leaps.
- Play the bass alone againthe original line should still be easy to hear.
Descending bass versus line cliche
A descending bass progression moves the lowest voice while the harmony changes around it. A line cliche often keeps one chord or tonic area in place while one chord tone moves chromatically, such as Am-Am(maj7)-Am7-Am6.
Both techniques create a visible line. They differ in which voice moves and how much the harmony changes.
Make it yours
- Continue past F
Try Em, Dm and C/E or C to extend the scale descent while controlling where the phrase arrives.
- Move the line upward
Put C-B-A-G-F in a guitar, string or vocal part and write a simpler bass underneath.
- Change one harmonisation
Replace G/B with Em/B and compare the function while the bass stays identical.
When it is useful
Use a descending bass when a section needs continuous motion under a stable melody. It works especially well in verses, transitions and outros because the listener can track the line across several chords.