Starting about 1890, early New Orleans jazz ensemble (which played a mixture of marches, ragtime, and Dixieland) was initially a marching band with a tuba or sousaphone (or occasionally bass saxophone) supplying the bass. When the music moved into bars and brothels, the double bass instrument is gradually being replaced by wind. Many early bassists doubled on both bass brass "" and "string bass," as the instrument is then often called. Bassists played "walking" bass lines based on the harmony scale outlined.
Because an unamplified upright bass is generally the quietest instrument in jazz band, many players in the 1920s and 1930s using the slap style, slapping and pulling the rope so they made a slap "rhythm" sound against the fingerboard. Slap style cuts through the band sounds better than simply plucking the strings, and let the bass be more easily heard on early sound recordings, as a means of recording time did not support the low frequencies. For more information about the slap style, see "Modern playing styles," below.
Many string bass players have contributed to the evolution of jazz. Examples include swing era players such as Jimmy Blanton, who played with Duke Ellington, and Oscar Pettiford, who pioneered the use of instruments in bebop. Paul Chambers (which worked with Miles Davis on Kind of Blue album known) achieved fame for being one of the first jazz bassists to play bebop solo with a bow. Charlie Haden, best known for his work with Ornette Coleman, defines the role of bass in the Jazz Free.
A number of other bassists like Ray Brown and Slam Stewart, is central to the history of jazz. Specifically, Charles Mingus was a highly respected composer and bassist known for his technical expertise and a strong voice. Scott LaFaro influenced generations of musicians with contrapuntal bass liberate "walking" in the back, rather than soloists supports interactive, conversational melodies.
Early 1970s bassist Bob Cranshaw, playing with saxophonist Sonny Rollins, and fusion pioneer and Stanley Clarke Jaco Pastorius began to substitute electric bass guitar to upright bass. Apart from the jazz fusion style of jazz and Latin-influenced jazz, upright bass is still widely used in jazz. Upright bass sound and tone is different from the plucked bass guitar worried. Bass guitar produces a different sound from the bass up, because the string that is usually stopped with the aid of metal frets. In addition, bass guitar usually have solid wood bodies, which means that the sound produced by electronic amplification of the string vibration
Related genres and Use in bluegrass
Bass is a bass string instrument most often used in bluegrass music and almost always picked, though some modern bluegrass bassists have also been using a bow. Bluegrass bassist is part of the rhythm section, and is responsible for maintaining steady beat, whether fast, slow, in the four quarters, two quarters or three quarters time. The Englehardt and Kay brand of laminate bass has long been popular choices for bluegrass bassists. Most bluegrass bassists use a bass the size of three quarters, but the full-size, and 5 / 8 size bass are also used.
Early pre-bluegrass traditional music is often accompanied by cello. The cellist Natalie Haas showed that in the U.S., you can find "... the old photos, and even old recordings, from the American string band with a cello." However, "the cello fell out of sight in folk music and became associated with the orchestra." bluegrass cello does not appear until the 1990s and 2000s. Some contemporary bluegrass band supports electric bass, because it's easier to transport than the big upright bass and somewhat fragile. However, the bass guitar has a distinct musical voice. Many musicians feel slower and percussive attacks, upright bass tones of wood give it a "more" earthy "or" natural "sound than the electric bass, particularly when gut strings are used. common rhythms in bluegrass bass playing involve (with some exceptions) plucking on beats 1 and 3 in 4 / 4, beats 1 and 2 in two quarters, and at the beginning of the song in 3 / 4 (waltz time). Bluegrass bass lines are usually simple, typically staying on the root and fifth of each chord for most of the songs. There are two main exceptions to the rule "." Bluegrass bassists often do walkup "diatonic" or "walkdown" where they play every beat of the bar for one or two bars, typically when there are chord changes. In addition, if a player is given a solo bass, they can play bass runs with a note on every beat or play a pentatonic scale that is influenced bassline.
An early bluegrass bassist to rise became famous was Howard Watts (also known as Cedric Rainwater), who played with Bill Monroe's Blue Grass Boys beginning in 1944. Classical bassist of Edgar Meyer has often branched into newgrass, old-time, jazz and other genres. "My favorite of all time is Todd Phillips," proclaimed the Union Station bassist Barry Bales in April '05. "He brings a completely different way of thinking and playing bluegrass.
An upright bass standard bass instrument in a traditional country western music. While the upright bass is still occasionally used in country music, electric bass has replaced the larger cousins in country music, especially in a country that is more pop-style infusion in the 1990s, and 2000s as a new country.
Style bass-Slap
Slap bass style is sometimes used in bluegrass bass playing. When slapping bluegrass bass player by pulling strings to touch the fingerboard or strings on the fingerboard press, he adds percussive pitched "clack" or "slap" sound to the low-pitched bass notes, sounding more like clacks from the tap dancer. Slapped is subject to a small controversy in the bluegrass scene. experts such as Mike Bub slapped even said, "... do not slap on every show," or in songs where it was "inappropriate." In addition, bluegrass bassists who play slap-style on the concert often slap less on records. Bub and his mentor Jerry McCoury rarely bass pat on the tape. While bassists such as Jack Cook slap bass "... on the" Clinch Mountain faster occasional children's songs, bassists such as "... Gene Libbea, Missy Raines, Jenny Keel, or Barry Bales [rarely] slap bass."
Bluegrass bassist Mark Schatz, who taught her Intermediate slap bass in bluegrass bass slap bass DVD admit that "... yet the flow is very dominant in the music on my record." He noted that "Even in the traditional slap bass bluegrass appeared only sporadically and most of what I do has been in a more contemporary side it (Tony Rice, Tim O'Brien)." Schatz stated that he would "... more likely to use it] slap [in the life situation than the recording - for solo or to punctuate a particular place in a song or songs where I'm not going to eliminate a solo person." Another method of bluegrass, bluegrass Learning Playing Bass, by Earl Gately, also teaches bluegrass bass slapping technique.
Popular music
In 1952, upright bass is a standard instrument in rock and roll, Marshall Lytle Bill Haley & His Comets became one example. In the 1940s, a new style of dance music called rhythm and blues developed, incorporating elements of earlier styles of blues and swing. Louis Jordan, the first innovators of this style, featuring upright bass in his group, which tympany Lima. Upright bass remained an integral part of pop Formation during the 1950s, as a new genre of rock and roll was built largely on the model of rhythm and blues, with strong elements also derived from jazz, country, and bluegrass. However, upright bass players using their instruments in this context face an inherent problem. They are forced to compete with loud horn instruments (and later amplified electric guitars), making bass parts difficult to hear. Upright bass hard to strengthen the loud concert venue settings, because it can be prone to feedback "rumble". Upright bass, large and awkward to transport, which also created transportation problems for touring bands. In some groups, it was utilized as a slap bass, percussion band as replacement drummer, as happened with Bill Haley & His Saddlemen (the predecessor to the Comets), who did not use a drummer on recordings and live performances until the end of 1952, before it was slap bass depend on for percussion, including on recordings such as Haley's version of Rock Joint and Rocket 88.
In 1951, Leo Fender Precision Bass independent release, bass guitar first commercially successful electric. Electric bass easily reproduced with a built-in pickups, easily portable (less than one foot longer than an electric guitar), and easier to play in tune, thanks to the metal frets. In the 1960s and 1970s bands that played at loud volume and perform in places where larger. Electric bass capable of providing large, highly-reinforced stadium-filling bass tone that pop and rock music of the era demanded, and upright bass receded from the center of attention from the world of popular music.
Upright bass began to make a modest comeback in popular music in the mid-1980s, partly because of renewed interest in early forms of rock and country music. In the 1990s, improvements in pickups and amplifier designs for bass horizontal and vertical electro-acoustic bassists make it easier to get the tone, both reinforced clear from acoustic instruments. Some popular bands decided to anchor their sound with upright bass rather than an electric bass. Trends for "revoked" the performance of more help to increase public interest in the guitar upright bass and acoustic bass. Upright bass is also favored over electric bass guitar in rockabilly and psychobilly bands a lot. In such bands the bassist often plays with great showmanship, using slapping technique, sometimes spinning the bass at around or even physically up to the instrument when performing; this style was pioneered c. 1953 by Marshall Lytle, bassist Bill Haley & His Comets, and the action of modern artists including Lee Rocker of the Stray Cats, The Polecats Phil Bloomberg, Scott Owen from The Living End and Jimbo from Reverend Horton Heat. Primus Les Claypool used an upright bass for the song "Mr. Krinkle," from Pork Soda, and for the song "Over the Falls," from the Brown Album.Shannon Burchell, from folk-rock group The John Butler Trio Australia, made extensive use of upright bass, performing live extended solo in songs like Betterman. In 2008 In Ear Park album by the indie / pop band Department of Eagles, bowed upright bass is quite prominent feature on the song "Teenagers" and "In Ear Park". Ompa Norwegian rock band Kaizers Orchestra-use upright bass, both live and exclusively on their record.
Styles Playing Modern
An unamplified acoustic bass tone 'is limited by the frequency response of a hollow body instrument, which means that very low pitches may not be as hard as higher pitches. With amplifier and equalization devices, players can increase the low frequency bass, the balance of frequency response. In addition, the use of amplifiers can increase to maintain the instrument, which is very useful for the accompaniment to a solo during the ballads and melody with the note is held.
In popular music genres, instruments are usually played with amplification and almost exclusively played with the fingers, pizzicato style. Pizzicato style varied between the different players and genres. Some players do with the side of one, two or three fingers, especially for walking basslines and slow tempo ballad, because this is supposed to create a stronger voice and more dense. Some players use a more nimble than the finger tips to play the solo part to move quickly or lightly plucked for use tunes.The calm amplification allows players to control the tone of the instrument, because the amplifier has a bass control that allows equalization to emphasize certain frequency (often the bass frequencies), whereas de-emphasize some frequencies (often high frequencies, so there is less sound finger).
In traditional jazz, swing, polka, rockabilly, and psychobilly music, sometimes played in the slap style. This is a stronger version of pizzicato where the strings are "slapped" against the fingerboard between the main notes of the bass line, produce percussive sounds like a snare drum. The main notes are either played normally or by pulling the rope from the fingerboard and releasing that bounces off fingerboard, producing distinctive percussive attack next to the field is expected. Famous slap-style bass player, which uses techniques that are often highly syncopated and virtuosic, sometimes interpolated two, three, four, or more slaps in between notes of the bass line
"Slap style" may have affected the electric bass guitar player who from about 1970 to develop a technique called "slap and pop," where the thumb of the picking hand used to hit the string, make a slapping sound but still allows notes to ring, and index or middle finger picking hand used to pull strings behind the fretboard so that it hits, reaching the pop sound described above.
