Publication Date

2008-04-27

Availability

Open access

Degree Type

Doctoral Essay

Degree Name

Doctor of Musical Arts (DMA)

Department

Studio Music and Jazz (Music)

Date of Defense

2008-03-31

First Committee Member

Donald Coffman - Committee Chair

Second Committee Member

Gary Lindsay - Committee Member

Third Committee Member

Whitney Sidener - Committee Member

Fourth Committee Member

Rene Gonzalez - Committee Member

Abstract

The purpose of this study was to research and demonstrate various techniques that a double bassist may utilize when performing an unaccompanied solo in a jazz setting. This study primarily focused on pizzicato (plucked) styles and sought to maximize the polyphonic potential of the double bass, which has traditionally been considered a homophonic instrument. This study provides a written, organized approach that illustrates recorded examples and augments private instruction for the double bass. This study offers a vocabulary of techniques comprising chords and intervals that allow the double bassist to accompany oneself. It uses an intervallic approach to determining practical ways of voicing chords and accompanying melodic statements. Specific songs from the standard repertoire were chosen to demonstrate self-accompaniment techniques in the contexts of melodic and harmonic movement. Recorded examples are provided that show how specific bassists successfully used certain techniques in the context of songs. Bassists that were examined include Ray Brown, Niels-Henning Orsted Pedersen, Dave Holland, Charlie Hayden, Ron Carter, Edgar Meyer, Lynn Seaton, and David Friesen.

Keywords

Jamie Ousley; Bass Solo; Acoustic Bass; Kontrabass; Bass Fiddle; String Bass; Music

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