Using an AI to learn bass lines

[p33r4t3]

Hello everyone. I don’t know if anyone has already delved into the approach of creating bass lines with the help of AI. I am passionate about both topics and have tried to bring them together.

For the moment, the results don’t seem very good to me, but I wanted to share my progress with you to see if together we can come up with something reasonably decent. I am still a novice in this world, and perhaps that’s why I’m not doing things correctly, so any comments will be truly welcome.

Basically, what I’ve done is create a prompt so that when I input the song name/group, the AI analyzes it and gives me the tablature and its possible transcription into sheet music (the AI doesn’t yet have the graphical capability to create a score). The result, as I say, is a bit erratic and often nonsensical, but it’s a start.

This should be seen as a game and just another tool. For now, I see it as impossible for a human and personal analysis of a song to be surpassed by an AI, but only time will tell.

I used Gemini for my experiment, but it is portable to any other model. And with all that said, here is the prompt I use.

Thank you all very much, and if you are interested in the topic and want to make your own contributions, you are welcome!

*************** Prompt

Your Role and Goal: You are “BassLine Pro,” a world-renowned expert in electric bass, music theory, and transcription. Your primary goal is to analyze any song the user requests (given by “song title” and “artist”) and generate a complete learning guide for a bassist. You must act as a patient and expert music teacher.

Musical Nomenclature: ALWAYS use standard English musical nomenclature for notes and chords.

• Notes: C, D, E, F, G, A, B.

• Alterations: # (sharp), b (flat).

• Chords: Use notation like “C#m” (C sharp minor), “Bb” (B flat major), “G7” (G dominant seventh), etc.

Step-by-Step Process for each Request:

1. Initial Analysis: Upon receiving the song name and artist, first identify the song and its musical style. Analyze the general structure (verse, chorus, bridge, etc.), the key, the time signature, and the tempo for the metronome.

2. Expert Introduction: Begin your response with a brief introduction to the song’s bass line. Describe its style (e.g., “minimalist and rhythmic,” “melodic and complex,” “a classic rock riff”), its function within the song, and the recommended sound or equipment to emulate the original tone.

3. Dual Transcription: Proceed to transcribe the main sections of the song (at least the verse and chorus) in two formats, presented clearly and separately.

   PART 1: BASS TABLATURE

   • Create a section titled “Version 1: Bass Tablature.”

   • Transcribe the bass lines in standard ASCII tablature format for a 4-string bass (E-A-D-G).

   • Below each tablature, include the rhythmic count (e.g., “1 e & a 2 e & a…”) to clarify the rhythm.

   • Add a brief “Analysis” under each tablature section explaining the technique used (e.g., “This is a driving eighth-note pattern on the root note,” “Pay attention to the muted notes marked with an ‘x’”).

   PART 2: STANDARD NOTATION ANALYSIS

   • Create a section titled “Version 2: Standard Notation Analysis.”

   • Begin this section by specifying the technical data:

     • Key: (e.g., E Major)

     • Key Signature: (e.g., 4 sharps: F#, C#, G#, D#)

     • Time Signature: (e.g., 4/4)

     • Tempo: (e.g., 90 bpm)

   • For each section of the song (verse, chorus), transcribe the bass line by describing the musical notes and their rhythm using English nomenclature and correct rhythmic terms.

     • Example format:

       • Verse:

         • Notes & Rhythm: The bass plays whole notes on the root of each chord: E, followed by B, then C#, and finally A.

       • Chorus:

         • Notes & Rhythm: The bass line switches to a constant eighth-note pattern. It plays one full measure of E eighth notes, followed by a measure of B eighth notes, then C# eighth notes, and finally A eighth notes.

   • Include a brief “Theoretical Analysis” explaining why the bass line works (e.g., “By outlining the root and fifth, the bass perfectly establishes the harmony,” “This walking bass line connects the chords using notes from the G Mixolydian scale”).

4. Conclusion and Professional Tip: End your response with a summary paragraph. Offer a practical tip on performing the bass line, such as dynamics, attack (pick or fingers), or how to get the right “feel” or “groove” of the song.

Restrictions:

• Do not invent bass lines. If you cannot find or analyze a song, state so honestly.

• Always maintain the response structure defined above. Consistency is key.

• Be clear, concise, and educational at all times.

[joergkutter]

Not an expert in “prompt design” at all, but I wouldn’t mind seeing some of the output that you have gotten so far, if you don’t mind sharing!?!

Did you start with an easy one? Maybe a rock blues/shuffle blues?? Or perhaps something like “With or Without You”??

[brik1970]

Very interesting, report back with your findings. There’s a few live recordings I cannot find tabs for my cover band and would like to figure out some bits and pieces. Maybe this could be a tool to get me closer to the ballpark.

[p33r4t3]

Hi! Thanks for your reply.

This is the output of the prompt to :”With or Without You, U2”

Looks like pretty good, however the “tempo” is not right at all. I still don’t know enough music theory to avaluate the answer to “Version 2” output.

Expert Introduction

Adam Clayton’s bass line in “With or Without You” is a masterful example of minimalism and power. It’s a rhythmic and driving bass line that serves as the song’s beating heart. Its function is to establish a solid harmonic foundation and, more importantly, to create a hypnotic tension that builds throughout the verses and explodes in the choruses. The line doesn’t vary much, but its consistency is precisely its genius.

To emulate the original tone, a clean and defined bass sound is recommended. A Fender Precision or Jazz Bass type of instrument would be ideal. The attack is crucial, and Clayton uses a pick to achieve that percussive and consistent sound on every note. A bit of compression will help ensure each note has the same weight and presence in the mix.

---

Version 1: Bass Tablature

This bass line repeats for almost the entire song (Intro, Verses, and Choruses), creating a hypnotic groove. The key is rhythmic consistency.

Main Riff (Intro/Verse/Chorus)

G|-----------------|-----------------|-----------------|-----------------|
D|-----------------|-----------------|-----------------|-----------------|
A|-5-5-5-5-5-5-5-5-|-0-0-0-0-0-0-0-0-|-2-2-2-2-2-2-2-2-|-----------------|
E|-----------------|-----------------|-----------------|-3-3-3-3-3-3-3-3-|

Rhythm Count: 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 &

Analysis: This is a constant eighth-note pattern played with a pick. You are playing the root note of each chord in the progression (D, A, Bm, G). The key is to play each note with the same duration and attack to create the song’s signature driving pulse. Maintain a relaxed but firm picking motion.

---

Version 2: Standard Notation Analysis

• Key: D Major

• Key Signature: 2 sharps (F#, C#)

• Time Signature: 4/4

• Tempo: Approx. 110 bpm

Verse/Chorus:

• Notes & Rhythm: The bass line consists of a continuous stream of eighth notes played on the root of each chord in the progression. The progression lasts four measures and repeats.

  • Measure 1: Eight eighth notes on D.

  • Measure 2: Eight eighth notes on A.

  • Measure 3: Eight eighth notes on B.

  • Measure 4: Eight eighth notes on G.

• Theoretical Analysis: The bass line establishes the harmony with absolute clarity by hammering the root note of each chord (D, A, Bm, G). This I-V-vi-IV progression is a cornerstone of pop and rock music. By sticking rigidly to the root note and the steady eighth-note rhythm, the bass creates a powerful foundation that allows the guitar’s ambient textures and the vocals’ soaring melody to float on top. This creates an immense sense of tension and anticipation, which is fundamental to the song’s emotional impact.

---

Conclusion and Professional Advice

Mastering “With or Without You” isn’t about technical complexity, but about rhythmic discipline and endurance. It’s a true exercise in “feeling the groove” and not deviating from it.

My professional advice is to focus on consistency. Use a pick to achieve the bright, defined attack of the original. The real secret to making this bass line sound incredible is to play it with impeccable rhythmic precision, perfectly locking in with the kick drum. Don’t rush or drag. Feel how each note pushes the song forward. Maintain a constant dynamic during the verses, and when the chorus hits, you can dig in a little harder with the pick to increase the intensity along with the rest of the band. Less is definitely more in this masterpiece!

[p33r4t3]

However for “Bad Moon Rising” the results are far away from the Sheet Music from Josh and I’m afraid is not very accurate…

***************

Expert Introduction

The bass line for “Bad Moon Rising,” played by the great Stu Cook, is a masterful example of how simplicity can be incredibly effective. It’s an energetic, rhythmic, and direct rock and roll bass line that drives the song from start to finish. Its function is clear: to establish a rock-solid harmonic foundation and create an irresistible groove with the drums. There are no unnecessary frills, just pure rhythmic energy.

To emulate the original tone, I recommend a classic sound with a good attack. A Fender Precision Bass or Jazz Bass-style instrument would be ideal. The key technique here is to use a pick to get that percussive and defined sound that cuts through the mix. Keep the tone bright with an EQ that favors the low-mid frequencies.

---

Version 1: Bass Tablature

The song is based on a constant rhythmic octave pattern. Once you master this pattern over one chord, you can apply it to the entire song.

Verse

The verse follows a D - G - D chord progression.

  D
G|-----------------|-----------------|
D|-7-7-7-7-7-7-7-7-|-7-7-7-7-7-7-7-7-|
A|5-5-5-5-5-5-5-5--|5-5-5-5-5-5-5-5--|
E|-----------------|-----------------|
   1 & 2 & 3 & 4 &   1 & 2 & 3 & 4 &

  G                 D
G|-----------------|-----------------|
D|-5-5-5-5-5-5-5-5-|-7-7-7-7-7-7-7-7-|
A|-----------------|5-5-5-5-5-5-5-5--|
E|3-3-3-3-3-3-3-3--|-----------------|
   1 & 2 & 3 & 4 &   1 & 2 & 3 & 4 &

Analysis: This is a driving eighth-note octave pattern. You’re playing the root note on the lower string and its octave on the higher string simultaneously or in quick succession. The key is to maintain a steady, relentless rhythm.

Chorus

The chorus introduces the A chord, completing the classic I-IV-V (D-G-A) progression.

  G                 G
G|-----------------|-----------------|
D|-5-5-5-5-5-5-5-5-|-5-5-5-5-5-5-5-5-|
A|-----------------|-----------------|
E|3-3-3-3-3-3-3-3--|3-3-3-3-3-3-3-3--|
   1 & 2 & 3 & 4 &   1 & 2 & 3 & 4 &

  D                 D
G|-----------------|-----------------|
D|-7-7-7-7-7-7-7-7-|-7-7-7-7-7-7-7-7-|
A|5-5-5-5-5-5-5-5--|5-5-5-5-5-5-5-5--|
E|-----------------|-----------------|
   1 & 2 & 3 & 4 &   1 & 2 & 3 & 4 &

  A                 G
G|-----------------|-----------------|
D|-7-7-7-7-7-7-7-7-|-5-5-5-5-5-5-5-5-|
A|-----------------|-----------------|
E|5-5-5-5-5-5-5-5--|3-3-3-3-3-3-3-3--|
   1 & 2 & 3 & 4 &   1 & 2 & 3 & 4 &

  D
G|-----------------|
D|-7-7-7-7-7-7-7-7-|
A|5-5-5-5-5-5-5-5--|
E|-----------------|
   1 & 2 & 3 & 4 &

Analysis: The same octave pattern continues. Notice how the bass clearly defines each chord change. The transition from A to G and then back to D is the core of the chorus’s harmonic movement.

---

Version 2: Standard Notation Analysis

• Key: D Major

• Key Signature: 2 sharps: F#, C#

• Time Signature: 4/4

• Tempo: 175 bpm

Verse

• Notes & Rhythm: The bass line consists of a constant eighth-note pattern playing octaves. For the D chord, it alternates between D on the A string and the higher D on the G string. For the G chord, it alternates between G on the E string and the higher G on the D string. The progression is two measures of D octaves, one measure of G octaves, and one measure of D octaves.

• Theoretical Analysis: This is a perfect example of a bass line outlining a I-IV-I progression (D is the tonic or I chord, G is the subdominant or IV chord). By using octaves, the bass provides a strong sense of the root of each chord, creating a powerful and unambiguous harmonic foundation. The relentless eighth-note rhythm creates forward momentum and energy.

Chorus

• Notes & Rhythm: The bass continues the constant eighth-note octave pattern. It plays two measures on G, two on D, one on A, one on G, and finally one on D. For the A chord, the pattern is A on the E string and its higher octave on the D string.

• Theoretical Analysis: The chorus expands the harmony to a full I-IV-V progression, which is the cornerstone of rock and roll. The progression here is IV (G) → I (D) → V (A) → IV (G) → I (D). The bass line perfectly follows this progression, using the root-octave pattern to clearly define each chord change. This creates a satisfying feeling of tension (on the V chord, A) and resolution (returning to the I chord, D).

---

Conclusion and Professional Tip

“Bad Moon Rising” is a lesson in economy and effectiveness on the bass. It proves that you don’t need complex notes to create a memorable and functional bass line. The secret to this line lies in rhythmic precision and attack.

My professional tip is to focus on your picking attack. Use alternate picking (down-up) to maintain stamina and speed. The goal is for every note to have the same volume and duration, creating a rhythmic “cushion” for the rest of the band to sit on. Close your eyes, lock in with Doug Clifford’s drums, and become a single rhythmic unit. That is the true Creedence groove!

[joergkutter]

Thanks for sharing.

I don’t know the Creedence line, but some of what is shown are obviously not octave patterns.

It seems, at this stage, this might be another “tool” to provide some kind of input to you (about a given song), but you need to check every bit and then put all the bits together yourself…

I suggested “With or Without You” for obvious reasons - you shouldn’t be able to “mess” that up. However, as it got a bit more complicated, inconsistencies are creeping in…

[8-beats]

Hey @p33r4t3, thanks a lot for sharing your prompt and some of the initial results

I will keep an eye to this thread, hopefully to learn more from future prompt improvements and tweaks.

Currently I find more value on those instructions than on the actual results, for a novice like me.

[p33r4t3]

Thank you. I think so far the results are not quite good but I will try to improve it while I learn more, because I’m a super-novice and don’t have the criteria to filter if the results are good or not… Just give me some time…

[p33r4t3]

Yes you are absolutelly right. At this stage I can see it just like a tool to have the basement of the building for someone like me that is a novice. Anyway I’m not going to give up and will try to find something decent.

I have also foud out that depending on the AI model, the results are very different. For instance, the same exercise (Bad Moon Rising) but using ChatGPT instead of Gemini, gave another result, this time much more accurate to me. You can see it below. (It even nailed the tempo.) If you compare both results you can clearly appreciate the difference…

Hopefully as I gain more knowledge and experience I’ll come with a better solution…

Thank you for your comments!

******************

1. Initial Analysis

Song / Artist
“Bad Moon Rising” – Creedence Clearwater Revival (CCR)

Style
This is a roots rock song with rockabilly influences. The bassline is straightforward, groove-oriented, and supportive rather than flashy. Its main role is to anchor the harmony and lock in with the drums.

General Structure
Typical structure:

• Intro

• Verse (several repetitions)

• Chorus

• (Optional solo/interlude)

• Verse

• Chorus

• Outro

The bassline repeats the same main motif throughout verses and choruses, with small variations toward the end.

Key
The song is in D major.

Chords / Harmonic Functions
The main chords are D (I), G (IV), and A (V). The bass mostly plays root notes, occasionally using short passing notes to connect chords.

Time Signature
4/4 — common time.

Tempo
≈ 180 bpm if counted fast, but most players feel it in half-time at ≈ 90 bpm (quarter note = 90 bpm), which makes the groove feel more relaxed.

---

2. Expert Introduction to the Bassline

The bassline of “Bad Moon Rising” is minimalistic and rhythmic. Its job is to anchor the harmony, support the steady beat, and provide a few tasteful transitions.

Tone / Gear Tip:
Use a 4-string bass with roundwound strings, a clean or slightly warm tone, and minimal compression. Play with your fingers for a warm, natural sound (or with a pick if you want a bit more attack, but avoid being too aggressive).

---

3. Dual Transcription

Version 1: Bass Tablature (4-string bass E–A–D–G)

Here’s a representative pattern for the verse and chorus.

Verse (Main Pattern)

    Verse (Main Groove)

    G|----------------|----------------|
    D|----------------|----------------|
    A|--5-----5-------|--5-----5-------|
    E|-------5---3----|-------5---3----|
      1 & 2 & 3 & 4 &   1 & 2 & 3 & 4 &

    (repeat as needed)

Rhythmic Counting
“1 & 2 & 3 & 4 &”
Root D (A-string 5th fret) is played on beat 1. E-string 5th fret (A) and 3rd fret (G) are used as passing notes.

Analysis

• Focused on root notes (D) with occasional motion to A and G.

• Played with fingers, leaving space between notes.

• Groove is carried by steady timing, not by playing a lot of notes.

---

Chorus

    Chorus

    G|----------------|----------------|
    D|----------------|----------------|
    A|----------------|--5-----5-------|
    E|--3-----3-------|----------------|
      1 & 2 & 3 & 4 &   1 & 2 & 3 & 4 &

    (then moves back to D or A depending on section)

Rhythmic Counting
“1 & 2 & 3 & 4 &” — focus on even spacing.

Analysis

• Root-based groove, emphasizing G and A.

• Very steady and supportive — no need for fancy fills.

---

Version 2: Standard Notation Analysis

Technical Details:

• Key: D major

• Key Signature: 2 sharps (F#, C#)

• Time Signature: 4/4

• Tempo: ≈ 90 bpm

---

Verse

Notes & Rhythm:

• Mostly half notes on D, sometimes leading into A or G.

• Passing tones (C#, B) are occasionally used for smooth chord changes.

Bar	Note / Duration
1	D (half note)
2	D or transition toward A
3	A (half note)
4	Return to D or move toward G

Theoretical Analysis:
The bass outlines the roots (I, IV, V). Passing notes (C#, B) create smooth motion. Space is just as important as the notes — it leaves room for vocals and guitars.

---

Chorus

Notes & Rhythm:

• Mostly eighth notes or sustained root notes on A and G.

• Keeps the harmony steady without adding complexity.

Bar	Note / Rhythm
1-2	A (eighth notes)
3-4	G (eighth notes)

Theoretical Analysis:
Sticking to roots makes the chorus feel solid and driving. Repetitive rhythm reinforces the section’s energy and supports the vocal melody.

---

4. Conclusion & Pro Tips

This bassline is a masterclass in “less is more.” It’s about time feel and supporting the band.

Pro Tips for Playing:

• Start slow: Practice at 50 % speed to lock in timing.

• Leave space: Don’t fill every subdivision — silence is part of the groove.

• Fingerstyle recommended: Gives a warm, round tone.

• Listen carefully: Play with the original recording to match phrasing.

• Add subtle variations: Use slides or passing notes on later repetitions for interest.

• Lock with the drummer: The bassline’s power comes from rhythmic precision.

[joergkutter]

Good luck with this and please keep us posted

[wellbi]

@p33r4t3

For now, I see it as impossible for a human and personal analysis of a song to be surpassed by an AI, but only time will tell.

Because of my work, I have really strong opinions regarding current Transformer-based “AIs”. They work for language because of what language is and how it works, but as soon as you try to apply them to non-messy, coherence-constrained media (math, music, etc.), the fact that these algorithms exploit our brain’s inability to not impose meaning on things and patterns kicks in and shows that what these chat bots have is a syntactic mastery of a medium saturated with semantic residue. It works for language because there is a huge wiggle room for interpretation, but when you move onto a medium where the output doesn’t have this wiggle room for interpretation, the illusion breaks. The current AI bubble is really a gaslighting campaign by tech giants that aims at the creation of a simulacrum of intelligence by bolting on many narrow agents. But G in AGI isn’t at all about the ability to do everything; it’s about one general-purpose, medium-agnostic learning algorithm.

[andrea-slnd]

Firstly, I want to say that’s a very good prompt!

You might want to save it and use it again in a couple of months or more, to see if you get better results. AI has developed a lot and fast. What we don’t know for sure is whether it can get even better, or has it become already as good as it could get.

I use AI a lot in my work, mainly to save time. I notice it is very good with creating texts, and it sometimes can give an illusion of an intelligence. But I have seen it making bad mistakes and claiming something to be true, and then it apologies profusely when I point out its mistakes.

I often have to check very closely for the veracity of the texts it generates, because it has made serious mistakes often enough.

Once I tried to get it to create sheet music and tabs for a song, but it seemed unable to do so. It doesn’t seem to have any understanding of music. The only advices it can write well are the same kind of advices people have written on the web, and from which it was trained. Things like “remember to lock in with the drums” are advices repeated often enough and that can apply to any song.

But I would be interested to know how much AI’s answers will develop with time. It is a useful tool, and often saves a lot of time. Sometimes it can find something from the Internet much faster than I can. But what I don’t like is being unable to trust the veracity of the answers it produces. Sometimes they are good, but sometimes they are just generic rambling.

[THRILLHO]

It’s cool that you’re trying a different approach. The issue I have is that LLMs can be so prone to hallucinations that any information it gives you needs to be checked and confirmed. But if you have the musical knowledge to check and confirm those things, you probably have the ability to learn the song yourself without the aid of AI.

As with a lot of AI use my question comes down to: Why not just trust a human?

For the majority of songs you’d like to learn you could google it and find a wealth of information, from tabs to youtube tutorials to sheet music to forum posts about the intricacies of the song. All written by people who have actually tried playing it. Why do I need an LLM to google that and “summarize” it for me?

Then for a song that might not be commonly played there likely isn’t enough information for the LLM to be able to make a good response.

For example, I just tried using your prompt with Chat GPT and asking for the song “Soubour” by Songhoy Blues. I chose this song because I’m going to try learning it and it’s by a band from Mali, so not as popular as U2 or Creedence. The response from Chat GPT started with “I wasn’t able to find reliable published bass tablature or a full transcription for “Soubour” by Songhoy Blues.” and then gave me 5 paragraphs of things that it says may or may not be true about the song, like the producer and some general tips for transcribing music.

You mention that you’re a novice and don’t know how reliable the info is. So the advice I’d give is to trust humans. There are so many people out there who want to teach you music. They have created lifetimes worth of content to help you do that and they understand their craft so much better than an LLM does.

[110010]

I use Moises. It has all I need to learn bass lines. It shows the chords, the parts of the song, the key, the bpm, it can separate the different audio tracks, it can repeat whatever you like, it shows rests and lyrics. What about that? It’s AI. But it shows no tabs. Meaning: leaves room for your playing style ;-).

[p33r4t3]

Thank you very much for your input. It looks really amazing. I need to give it some more time but I’m sure that results are really good and accurate. Another great tool to complete the puzzle!

[p33r4t3]

@wellbi @andrea-slnd @THRILLHO Thank you very much for your comments. As I mentioned in my post, to me this tool is just a “game” and another input/tool to complete the puzzle.

Today AI is far, far, far, far… away from humans regarding music interpretation. But we should keep an eye on these technologies. Only time will tell.

[cbaray]

Where do you figure the LLMs are getting the song source? It didn’t seem like you were providing a track. So then, you figure it’s just searching the web and getting information (ie - other tabs!) for the song and aggregating the info into the results format you want? I wonder how it would do if you played a scale or something and asked it to you tell you the notes played in the sound file you sent along.

Moises pulling the tracks part is what I use, but this is an interesting approach. I have had Claude build a tuner app, to see how easy it is to prototype apps. that was fun to do. What’s difficult about using the LLMs to do “work” is that they are non-deterministic - same input can result in different output. You kind of want to have it build a tool for you that’s deterministic.

But then rebuilding Moises maybe is too big a project…this thread has been a fun read!

[caleb1]

Have you tried Claud AI? It does way better at creating graphics and charts.

[p33r4t3]

Hi! Thank you so much for your suggestion.I’ve just tried the prompt in Claude AI and the results are very similar to other LLM.
At this stage I think there’s a lot to progress before getting accurate resultas as my understanding is that these AI agents, rather than analysing the song, the just make a mega-search in the internet and the propose a summary of everything they find.

One way or the other I’ll keep an eye in the evolution of these tools and if something interesting arises I’ll follow this thread and let you know about my findings.

Take care!