Vertical Scales & Chord Bass

Hello,

I try to get me head around vertical scales and their use with the Bass symbol - especially how the vertical scales are created (choosen) on a per chord basis in the chord progression and their coherence to the horizontal scale? 

And also what's the impact if one changes the bass of an chord (e.g. to G in a Cmaj chord), as this does not change the vertical scale nor does it influence the generated MIDI notes for the Chord symbol segments - the automatic voice leading seems to be stronger?

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For myself the Bass is somehow carrying the other instruments - depending on the genre (Pop, Rock, Electronic Dance Music, Electronic Ambient / Chillout Music) maybe also together with the drums & percussions. 

Hence I was surprised that the Bass symbols is bound to the vertical scale and not the harmonic scale - how can the Bass carry & support the other instruments, when it might play out of scale and hence creating more or less tension up to dissonance. Assuming the Bass plays at the same time as the other instruments.

I figured out how to achieve a Bass playing on the horizontal scale and also in the low register playing range of an instrument, by using the Horizontal symbol and assigning the Segment manuall to the "low register" playing range - so that's not a problem.

But I am wondering how the vertical scale is choosen and how reliable these are "modal variations" of the horizontal scale, IF there is only 1 horizontal scale (only major or minor) and all chords are only using notes from this scale?

I think this is the case, if I understand Andres statement correctly : "The palette always prefers vertical scales that are subsets of the horizontal scale", see : https://users.cognitone.com/topic/vertical-scales-palettes.

If I for example choose A minor as the only horizontal scale in the Palette and create a I, III, IV, VII progression resulting in Am (A.aeolian), C (C.ionian), Dm (D.dorian) and G (G.mixolydian), all vertical scales ("above" the chords) are "modal variations / rotations" of A minor and hence contain the same pitch classes as the horizontal scale.

This is what I would call "coherent", as the Bass would never play out of the horizontal scale.

Although the horizontal and vertical scales share the same pitch classes, the "functions" of the pitch classes differ, which means Tonic, Dominant and Subdominant vary, so the scale & figure degress do, and hence the same figure shape creates different notes, depending on if its played by a Horizontal symbol or a Bass symbol.

This way the music prototyping and reuse of segments (figure shapes) comes into play and can lead to interessting tonal movement and compositions, which gets even more "creative" if one uses borrowed chords from other than the primary horizontal scale, as this will comprehensible result in vertical scales whose pitch classes will differ from the primary horizontal scale ... but that's a different thing that I am currently not into ;-).

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In other words : for some of my compositions I want to stay in the pitch classes of the one & only horizontal scale (set in the Pallete) and want to be sure that the vertical scales "over" the chords, which are build only from notes of the horizontal scale, are "pitch class equivalent" with the horizontal scale. Hence using the Bass symbol bound to the vertical scale is "safe".

Which means : I do not want to verify this each time (and by now I cannot translate the church modes in my head and verify this at a glance ;-). I know that even in the case it would differ, I could alter the vertical scale assigment manually in the Progression Tab, but this would be a too tedious workflow.

Cheers