Publication Date



Open access

Degree Type

Doctoral Essay

Degree Name

Doctor of Musical Arts (DMA)


Studio Music and Jazz (Music)

Date of Defense


First Committee Member

Donald Coffman

Second Committee Member

Gary Lindsay

Third Committee Member

Whitney Sidener

Fourth Committee Member

Rene Gonzalez


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.


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