University of Miami
Scholarly Repository
Open Access Dissertations
Electronic Theses and Dissertations
2017-05-02
The Art of The Bow - Towards Developing a
Pedagogy For Arco Jazz Bass
Geoffrey R. Saunders
University of Miami, [email protected]
Follow this and additional works at: http://scholarlyrepository.miami.edu/oa_dissertations
Recommended Citation
Saunders, Geoffrey R., "The Art of The Bow - Towards Developing a Pedagogy For Arco Jazz Bass" (2017). Open Access Dissertations.
1864.
http://scholarlyrepository.miami.edu/oa_dissertations/1864
This Open access is brought to you for free and open access by the Electronic Theses and Dissertations at Scholarly Repository. It has been accepted for
inclusion in Open Access Dissertations by an authorized administrator of Scholarly Repository. For more information, please contact
[email protected].
UNIVERSITY OF MIAMI
THE ART OF THE BOW – TOWARDS DEVELOPING A PEDAGOGY FOR ARCO
JAZZ BASS
By
Geoffrey Richard Saunders
A DOCTORAL ESSAY
Submitted to the Faculty
of the University of Miami
in partial fulfillment of the requirements for
the degree of Doctor of Musical Arts
Coral Gables, Florida
May 2017
©2017
Geoffrey Richard Saunders
All Rights Reserved
UNIVERSITY OF MIAMI
A doctoral essay submitted in partial fulfillment of
the requirements for the degree of
Doctor of Musical Arts
THE ART OF THE BOW – TOWARDS DEVELOPING A
PEDAGOGY FOR ARCO JAZZ BASS
Geoffrey Richard Saunders
Approved:
________________
Donald Coffman, M.M.
Professor, Assistant Chair,
Studio Music & Jazz
_________________
Charles Bergeron, M.M.
Lecturer, Jazz Bass
________________
John Daversa, D.M.A.
Assistant Professor of Music
Chair, Department of Studio Music and Jazz
_________________
Guillermo Prado, Ph.D.
Dean of the Graduate School
________________
Brian Powell, D.M.A.
Assistant Professor
Instrumental Performance (Double Bass) and Music Education
SAUNDERS, GEOFFREY RICHARD
(D.M.A., Studio Music and Jazz)
(May 2017)
The Art of The Bow – Towards Developing a
Pedagogy For Arco Jazz Bass
Abstract of a doctoral essay at the University of Miami.
Doctoral essay supervised by Professor Donald Coffman.
No. of pages in text. (96)
From the beginnings of jazz in New Orleans and into the modern styles of today, jazz
bassists have utilized the bow to accompany ensembles, play melodies, and improvise
solos. There are numerous recordings available of jazz bassists demonstrating these
various musical functions with the arco technique. Many consider pizzicato to be the
primary method for sound production by the double bass in jazz and other styles,
however historically arco has been the principal method of sound production since the
origins of the instrument in the 17th century. Beginning jazz students often receive more
instruction in pizzicato technique and as a result do not develop important bowing skills
that many successful performers possess. The purpose of this study is to investigate
recorded examples of arco jazz bass performance in an effort to identify technical
features which may serve as a starting point in developing a teaching pedagogy for arco
jazz bass. Through transcription and analysis of arco jazz bass performances we gain
knowledge of the skills and styles used in professional jazz performance. A selected
discography of arco jazz bass performances will include a number of examples of jazz
bass bowing on record from the 1920s up to today. After reviewing published
pedagogical methods pertaining to the arco technique, compiling a representative
discography, and analyzing the relevant transcriptions, trends will emerge to guide us in
the development of a pedagogy for arco jazz bass.
Acknowledgements
I would first like to thank my parents, Clark and Luann, for fostering a loving,
musical atmosphere in the home while growing up and sharing music with my two
brothers. Thank you to all of my bass instructors for their patience in showing me how to
get around this big instrument; Don Coffman, Brian Powell, Jeff Campbell, and James
VanDemark. I would also like to thank the musicians and mentors that helped to inspire
and direct me; Chris Azzara, John Daversa, Shelly Berg, and Mark O’Connor.
iii
Table of Contents
List of Figures .................................................................................................................... vi
CHAPTER ONE: INTRODUCTION ..............................................................................1
Background ..............................................................................................................2
Problem Statement .................................................................................................11
Need for Study .......................................................................................................13
Purpose...................................................................................................................15
CHAPTER TWO: LITERATURE REVIEW...............................................................16
Traditional Bass Pedagogy ....................................................................................16
Jazz Bass Pedagogy ...............................................................................................18
Jazz Bass Bowing Pedagogy..................................................................................20
CHAPTER THREE: METHOD ....................................................................................22
CHAPTER FOUR: RESULTS/ANALYSIS..................................................................24
1920s-‘30s..............................................................................................................24
1940s-‘50s..............................................................................................................28
1960s-‘80s..............................................................................................................31
1990s-present .........................................................................................................32
CHAPTER FIVE: CONCLUSIONS..............................................................................55
CHAPTER SIX: DISCUSSION .....................................................................................63
iv
REFERENCES.................................................................................................................66
DISCOGRAPHY .............................................................................................................70
APPENDIX.......................................................................................................................73
Selected Discography of Arco Jazz Bass Performances........................................73
Transcriptions and Original Etudes:
The Blues I Love To Sing ...........................................................................78
Jayne ..........................................................................................................80
Emily ..........................................................................................................82
Liltin’ With Milton .....................................................................................84
SOffial ........................................................................................................90
Unfolding ...................................................................................................92
C Jam Blues ...............................................................................................94
Milt’s Lilt ...................................................................................................95
Moonlight In Vermont Etude .....................................................................96
v
List of Figures
Figure 1.1 Transition between slap pizzicato and arco in The Blues I Love To Sing .......26
Figure 1.2 Legato half-note bass line in The Blues I Love To Sing ..................................27
Figure 1.3 Pops Foster playing bowed bass line for Bowin’ The Blues............................29
Figure 2.1 Varied slurs and single-note lines in Jayne .....................................................33
Figure 2.2 Groupings of two-note slurs in Jayne..............................................................33
Figure 2.3 Slurs between upper and lower neighbors in Jayne ........................................34
Figure 2.4 Series of upper-to-lower neighbor slurs in Jayne............................................34
Figure 3.1 Opening of solo in Emily .................................................................................35
Figure 3.2 Slurred chromatic neighbor tones in Emily .....................................................36
Figure 3.3 Comparison between the original and Clayton’s variation of Emily...............36
Figure 3.4 Embellishment of melody in Emily .................................................................37
Figure 4.1 Alternating between pizzicato chords and arco melodies in Liltin’ With
Milton.................................................................................................................................38
Figure 4.2 Varied bow timbres in Liltin’ With Milton ......................................................38
Figure 4.3 Alternating between pizzicato and arco in Liltin’ With Milton .......................39
Figure 4.4 Hooked bowing pattern in Liltin’ With Milton ................................................40
Figure 4.5 Melodic double-stops and blues melodies in Liltin’ With Milton ...................40
Figure 4.6 Ending statement in Liltin’ With Milton ..........................................................41
Figure 5.1 Opening gestures in SOffial.............................................................................42
Figure 5.2 Slurred bowings and arco multiphonics in SOffial..........................................44
Figure 5.3 Arco multiphonic double-stops in SOffial .......................................................44
Figure 5.4 Arco Artificial Harmonic Multiphonic Glissandi in SOffial ...........................45
Figure 5.5 Adjacent string crossings with harmonics in upper register in SOffial ...........45
Figure 5.6 Diagonal bowing multiphonics in SOffial .......................................................46
Figure 5.7 Circular Bowing and Gravity Bow Drops in SOffial.......................................46
Figure 6.1 Groups of separate and three-note slur bowings in Unfolding ........................47
Figure 6.2 Triplet figures develop the original melodic statement in Unfolding..............48
Figure 6.3 Meyer’s use of slides in Unfolding..................................................................48
Figure 6.4 Slurred, four note groupings in Unfolding.......................................................49
Figure 7.1 Arco melody in Blues For Jimmy....................................................................50
Figure 7.2 One bar ii-V7 vocabulary in Jayne..................................................................52
Figure 7.3 Two bar ii-V7 vocabulary in Jayne .................................................................52
Figure 7.4 Two bar ii-V7 vocabulary in Liltin’ With Milton ............................................52
vi
CHAPTER ONE: INTRODUCTION
The curved wooden rod and horsehair bow is a highly expressive tool that many
string instrument performers from all around the world utilize for sound production.
Ancient instruments that employ the bow, such as the rebab and tromba marina, have
been played for thousands of years.1 The modern double bass has existed for almost 500
years and was modeled after the early violin. 2 It has been played primarily with the bow
for most of its history. By the 1920’s, however, pizzicato replaced arco as the standard
technique for sound production for jazz bassists. Many early musicians nevertheless
recall a time when they were required to switch back and forth between the techniques.
Many jazz bassists throughout the evolution of jazz have used the bow in varying ways in
their performances. In the late 1930’s, performers like Jimmy Blanton, Slam Stewart, and
later in the 1950s, Paul Chambers reestablished the sound of arco bass as viable and
unique solo voice in the modern jazz context. Present day jazz artists are continuing to
develop the art of arco technique to this day. Discovering a personal, unique sound and
performance style is an important goal among jazz artists. Successful musicians are
celebrated for their individual interpretations and contributions.3 Some contemporary jazz
bassists have used the bow to create expressive and compelling music. Although it is not
the primary method for performing jazz repertoire on the bass, arco techniques have
broadened the sonic palette for the jazz bassist.
1
Stanley Sadie, The New Grove Dictionary of Musical Instruments. (London: Macmillan Press, 1984),
Paul Brun, “A New History of the Double Bass,” in American String Teacher, February 2001, trans.
Lynn Morrel and Paul Brun, (Fairfax, VA: American String Teachers Association, 2001), 67.
3
Tirro, Frank. Jazz: A History (New York: Norton, 1977).
2
1
2
Even with its rich tradition and presence in jazz, a thorough investigation of the
bow technique unique to jazz has not been developed. This study will examine scholarly
publications pertaining to jazz bass bowing, teaching method books on bow technique,
and current performance practices employed by jazz bassists.
Background
From the very beginning, stringed bass instruments primarily used the bow and
only rarely plucked the strings.4 The very first pictorial reference to a large gamba-style
instrument from 1570 depicts the instrument being played with an arched bow while
accompanying a small ensemble.5 The origin of the double bass dates back to the
sixteenth century, with the creation of the instrumental family based on the violin and the
distinction between the bass violin and violon-cello. Called by many names, bass-violin
in France, violones in Italy, or as rabeçaos in Portugal, bass instruments came in many
different sizes, ranging from cello-like instruments to giant versions of the modern
double bass.6 Double basses vary in design and size more than almost any other
instrument.7 The modern double bass as we know it emerged in its own right when the
basses of the violin family were standardized and odd-size patterns discontinued. This
standardization followed the introduction in the 1660s in Bologna of strings wound with
silver that allowed players to use shorter strings and thus the violon-cello (small violone)
and the modern double bass were created.8 The added mass of the silver winding allowed
strings to be made shorter and tuned lower than before, this also allowed lower-pitched
4
Sadie, The New Grove Dictionary of Musical Instruments,
Ibid.
6
Brun, “A New History,” 67.
7
Sadie, The New Grove Dictionary of Musical Instruments, 590.
8
Brun, “A New History,” 67.
5
3
strings to retain more tension and therefore create more projection. Constructed at twice
the size and one octave below the cello, the initial purpose of the double bass was to
reinforce the low frequencies in the early orchestra and initially doubled the celli an
octave lower, hence the term “double bass.”9
There are two types of the bass bow in common use today. The German bow has
a broad frog and is held underhand with the palm of the hand upward, similar to the older
viol-type bow.10 Baroque viola da gamba players, bassists in the Berlin Philharmonic,
and American classical bassist Gary Karr have all played with this bow hold. The French
bow with its more compact frog, held palm down, is more similar to a violin bow, and
may get its name from the French bowmaker, Tourte.
The earliest known works for a solo double bass instrument were sonatas
composed by or for Giovannino del Violone, around 1690.11 No solo double bass music
is known from the 18th century until the solo bass parts in Haydn’s symphonies of the
early 1760s. Haydn was the first major composer to separate the basses from the celli and
compose distinct melodies for each.12 Then, in the following four years more than 28
concertos appeared by composers including Vanhal, Zimmerman, Haydn, Hoffmeister,
Sperger, and Dittersdorf.13 Mozart composed the aria Per questa bella mano (K612) for
bass voice and double bass that was performed by the bassist Freidrich Pischelberger
(1741-1813).14 Pischelberger and Johannes Sperger were among the most outstanding
virtuosos of their time.15
9
Brun, “A New History,” 67.
Sadie, The New Grove Dictionary of Musical Instruments, 591.
11
Ibid, 592.
12
Ibid,
13
Ibid, 592
14
Ibid, 592
15
Ibid, 593
10
4
In the 19th century, there was a surge of solo literature composed for the double
bass and was popularized through composer/performers such as Dragonetti and Bottesini.
Bass players began to be featured as soloists in the concert setting. These bass soloists
gained in popularity and established worldwide tours.
The renowned bassist Domenico Dragonetti (1763-1846, Venice) became friends
with esteemed composers of the day such as Haydn and Beethoven after he established
himself in London in the 1790’s.16 Dragonetti, himself a composer, performed many of
his own works which demonstrated his virtuosity on the large instrument. He developed
his own style of bow, which is similar to the German style of frog, but features an
outward curve of the stick. The construction of the bow allowed for a punctuating bass
line and suited the rhythmic sequential patterns common in his own compositions.17This
style of bow was popular in Britain for almost a century, and after attempts to
disseminate it abroad it lost acceptance and virtually disappeared by the 20th century. 18
While some critics praised Dragonetti’s powerful tone and his ability to play in tune,
others scorned him for his rasping style.19
Giovanni Bottesini was another influential bass soloist of his time. He travelled to
the U.S. in the mid 19th century and included performances in New Orleans and New
York.20 He played an instrument with three strings tuned a whole step higher (solo
tuning) and used a French style bow.21 He was nicknamed the “Paganini of the double
16
Sadie, Stanley, and George Grove, The New Grove Dictionary of Music and Musicians, (London:
Macmillan Press, 1980), 553.
17
Ibid, 554.
18
Sadie, The New Grove Dictionary of Musical Instruments, 593.
19
Ibid, 593.
20
Sadie and Grove, The New Grove Dictionary of Music and Musicians, 85.
21
Ibid, 85.
5
bass” due to his virtuosity, “agility, purity of tone, intonation and exquisite phrasing.”22
He extended the range of the instrument beyond its recognized tessitura, and even today
his many double bass compositions are seldom performed on account of their great range
and difficulty.23
Twentieth century classical bass soloists continued to promote the acceptance and
further develop the technique of the bass as a solo instrument. Sergey Koussevitsky,
(1874-1951) the Russian born bassist, conductor, and composer, began his career as
principal bassist and soloist with the Bol’shoy Theater Orchestra then later founded the
publishing house Editions Russes de Musique who published music for Scriabin,
Stravinsky, Prokofiev, and Rachmaninoff.24 His legacy includes conducting 99 premieres
with the Boston Symphony, directing and founding Tanglewood, and composing a
popular bass concerto that is still performed today.25
Gary Karr (b.1941) is “One of the most influential players of his generation, Karr
has enjoyed a successful international solo career, has recorded extensively and has
pioneered new and individual playing techniques.”26 He was one of the first double bass
soloists to perform on television to a wide audience.
Bertram “Bert” Turetzky (b.1933) is an American double bass performer and
composer. “Turetzky is a leading exponent of the double bass as a solo instrument and
has extended an already noteworthy classical technique to include a large repertory of
new bowings, harmonics, pizzicatos, glissandos and, especially, percussive effects from
the use of his hands, fingers and knuckles on various parts of the body of his instrument.”
22
Sadie, The New Grove Dictionary of Music and Musicians, 85
Ibid, 85
24
Ibid, 844
25
Ibid, 845
26
Ibid, 388
23
27
6
Turetzky was also influenced by jazz and jazz composers. His piece, “In Memoriam
Charles Mingus (1979), is a mixed-media piece for two singers, three jazz groups, double
bass choir, tape and film.”28
By the beginning of the 20th century an alternative musical setting was emerging
for the double bass; jazz music was developing in New Orleans and bassists first
approached ragtime and early jazz in the traditional arco style. As the double bass began
to be used more frequently in early jazz ensembles after ragtime, early jazz bassists
would accompany the ensemble primarily with the bow until the mid-1910s when
pizzicato began to replace arco as the main technique for sound production. As the music
developed and the formalization of the jazz style occurred, bassists increasingly began to
incorporate pizzicato and rhythmic slap techniques in the early jazz music. Slapping
became the new, “hot” style and all of the early New Orleans bassists eventually adopted
this technique into their style and used the technique on many early recordings.
According to anecdotal evidence, one of the first musicians to pluck the strings of
the bass in jazz was Bill Johnson (1872/74-1972).29 Born and raised in New Orleans, by
1900 he performed bass with the Peerless and Eagle bands, both were early New Orleans
jazz bands that played in the “District” for cabarets and dances. He is reputed to have
played the bass pizzicato as early as 1911 and influenced many younger New Orleans
bass players, including Pops Foster, Wellman Braud, and John Lindsay.30 Johnson was a
multi-instrumentalist playing guitar, banjo, mandolin, and bass, and in 1908, he travelled
with one of the first bands to bring jazz to the West Coast, the Original Creole Band.
27
Ibid, 900
Sadie, The New Grove Dictionary of Music and Musicians, 900
29
Kernfield, The New Grove Dictionary of Jazz, (London: Macmillan, 1994), 417.
30
Schuller, The Swing Era: The Development of Jazz, 1930-1945, (New York: Oxford University Press,
1989), 201.
28
7
That band travelled widely around the U.S., but disbanded in 1918. By 1922 Johnson had
moved to Chicago and began performing and recording with King Oliver and eventually
Jelly Roll Morton. Johnson inspired many New Orleans bassists with his rhythmic power
and lively syncopation and can be heard alternating between arco and pizzicato in his
recordings of the late 20s with Jelly Roll and His Hot Peppers.31
Another early New Orleans bassist was Ed “Montudi” Garland (1885-1980).
Garland began playing the washtub bass as a youngster in an early band with Kid Ory.
Garland eventually began to play double bass with musicians such as Buddy Bolden in
1904, Freddie Keppard in 1908, and Ory in 1910. By that time he played mainly with the
bow, with some slapping or pizzicato as well.32 Later, he moved to Chicago in 1914 and
performed with Lawrence Duhé and Lil Hardin, then joined King Oliver in 1919. After
Oliver’s group toured the West Coast Garland decided to stay and make his home there in
Los Angeles. He continued to work with Ory into the 50s and his arco solo on Blues for
Jimmy became a staple for the band.33
One of the pioneers of early jazz bass, Pops Foster (1892-1969), performed with
many of the New Orleans jazz greats including Louis Armstrong. After beginning on
cello, he soon migrated to double bass and from 1906 played with the Eagle band, Louis
Keppard’s Magnolia Orchestra with King Oliver, the Tuxedo band, Kid Ory, and Freddie
Keppard. In 1929 Foster moved to New York to join Louis Russell and also played in
Louis Armstrong’s band from 1935-40. He was known for his steady beat and propulsive
rhythmic style that vitalized every ensemble with which he performed.34 Bowing was an
Kernfield, The New Grove Dictionary of Jazz, 417
Ibid, 13
33
Ibid, 13
34
Ibid, 839
31
32
8
important aspect of his style, in his own words: “I first learned to bow the bass, then
started doing a lot of picking…It seems like I’ve been switching like that all my life.”35
He would frequently begin a piece arco then change to pizzicato adding to the rhythmic
crescendo of the band, which is an important element in early jazz.36 His arco sound was
not sweet and bel canto, but big and gutty, maybe scratchy due to gut strings.37 His
accompanimental playing on Bowin’ The Blues certainly fits the description.38
Wellman Braud (1891-1966) adapted the early New Orleans style to the new jazz
styles with the Duke Ellington band.39 Braud began performing in New Orleans on
various string instruments, until he followed other musicians north to Chicago and by
1917 where he took up the double bass and played with Duhé in 1918 and Charlie Elgar
between 1920 and 1922. He joined the Ellington band by mid-1927 and his composition
Double Check Stomp was recorded by the band in 1930. Braud remained with Ellington
until 1935 and his strong rhythmic foundation was an important element to the band’s
early success. However his style fell out of fashion as the swing era developed and Billy
Taylor ultimately replaced him because he was “more skilled in playing the new variety
of music.”40 According to the New Grove Dictionary of Jazz, Braud claims to have
developed the concept of the walking bass but he can also be heard using the bow in early
recordings with the Ellington band in the late ‘20s.41 Used mainly for accompaniment,
Braud had a smooth but powerful arco sound that suited legato bass lines perfectly. In his
performance of The Blues I Love to Sing we can hear his tendency to switch between slap
35
Turetzky, Introduction to The Autobiography of Pops Foster, ed. Tom Stoddard. (Berkeley and Los
Angeles: University of California Press, 1973), xvii.
36
Ibid, xvii.
37
Ibid, xvi
38
Bechet, Sydney and Mezzro, Mez. Bowin’ The Blues. King Jazz, 141. 1945.
39
Kernfield, The New Grove Dictionary of Jazz, 292
40
Ibid, 292
41
Ibid, 292
9
pizzicato and arco.42 His ability to use the bow to play legato lines is similar to that of
brass players but even smoother.43
Early New Orleans bassists used the bow primarily to accompany the band and
rarely improvised solos with it. Arco was favored for slower tempo tunes such as blues
and slow marches. Many bassists alternated between the two techniques to suit the
particular feel of the varying sections of the tune. Due to poor recording quality in the
early days of recording, it is difficult to accurately determine if the bassist is using the
bow or not, but according to anecdotal and pictorial evidence we can assume that some of
these recordings made in the early 20s had arco bass on them. Many photos of early New
Orleans jazz bands show the double bassist either holding a bow to the strings or held in
their hands as they are playing pizzicato.
As jazz music further evolved into swing, bebop, and beyond, the bassist was
more free to add other notes to the walking bass line which developed as performers
began to utilize scalar connections between the chord tones. Pizzicato was thought of as
the main method of sound production, and arco became an auxiliary technique, as it did
not have the same percussive power and presence to drive the band that the pizzicato
technique did. In the days before amplification, bass players had to pull the strings very
hard in order to be heard against a large, big band.44
Around 1939, as bassist with the Duke Ellington Orchestra, Jimmy Blanton
reestablished the use of the bow as a powerful, unique solo voice in the jazz combo.
Blanton elevated the role of the bass from a mere accompanist to that of a featured
42Ellington,Duke.TheBluesILoveToSing.Victor,Vic21490.1927.
43
Kernfield, The New Grove Dictionary of Jazz, 292
Tom Stoddard. Pops Foster: The Autobiography of a New Orleans Jazzman as told to Tom Stoddard.
(Berkley: University of California Press, 1971)
44
10
soloist.45 He is considered to be one of the most influential bassists of all time because of
his virtuosity and expressivity on the double bass. Many players were influenced by his
style particularly through the recordings he made as a duo with Duke Ellington in 1939.46
Their versions of Body and Soul47 and Sophisticated Lady48 featured the bass as a solo
voice being accompanied by the piano. Through these important recordings, Blanton shed
the role of the accompanist to emerge as a soloist in an unprecedented way.49 “Blanton
also took part in a few of the informal jam sessions at Minton’s Playhouse in New York
that contributed to the genesis of the bop style.”50 In his tragically brief career, Blanton
revolutionized jazz bass playing, and until the advent of the styles of Scott LaFaro and
Charlie Haden in the 1960s all modern bass players drew on his innovations.”51
Slam Stewart is an artist who developed the bow as his signature sound. While
studying at the Boston Conservatory he heard violinist Ray Perry humming and playing
in unison and decided to adapt that technique to the double bass which became his
signature.52 He first gained attention with the duo “Slim and Slam” with Slim Galliard on
guitar.53 Their tune Flat Fleet Floogie became extremely popular and features bass solo
with his vocal accompaniment.54 Stewart has collaborated with many jazz greats such as
Tatum, Waller, Young, Monk, Goodman, Gillespie and Byas.55
45
Campbell, "Two Profiles in the Development of Jazz Bass Playing.”
Kernfield, The New Grove Dictionary of Jazz, 238
47Ellington, Duke. Body And Soul. Victor, Vic 27406. 1940
48Ellington, Duke. Sophisticated Lady. Victor, Vic 27221. 1940.
49
Campbell, "Two Profiles in the Development of Jazz Bass Playing”.
50
Kernfield, The New Grove Dictionary of Jazz, 238
51
Ibid, 238
52
Ibid, 663
53
Ibid, 663
54SlimAndSlam.FlatFleetFloogie.Affinity,DC AFS 1034-3. 1938.
55
Ibid, 663
46
11
The acclaimed bassist with the first Miles Davis Quintet, Paul Chambers, can be
heard on many recordings taking horn-like solos with the bow on recordings of his own
and as a sideman. Born in Pittsburgh, 1935 but raised in Detroit, he took up bass in 1949
and by the early 50’s was working with Thad Jones, Barry Harris, and Kenny Burrell in
local clubs.56 In 1955 he moved to NYC and quickly was connected with the top jazz
musicians in town. He later became Miles Davis’ longest serving band member.57 His
arrangement of the standard Yesterdays features a classically inspired introduction and
continues with a soloistic treatment of the melody. He then executes an improvised solo
utilizing bebop vocabulary and intricate bowing technique.
Throughout the swing and bebop eras, a few jazz bassists have used the bow in
their style. Including: Major Holley, Charles Mingus, and Israel “Cachao” Lopez.
Performers have continued to develop the art of the bow technique in jazz, although it has
remained somewhat in the periphery. Well known bass performers who use the bow
currently include: Christian McBride, John Clayton, Dave Holland, Eddie Gomez, John
Goldsby, Lynn Seaton, Edgar Meyer, Renaud Garcia-Fons, Ron Carter, Avishai Cohen,
Eric Revis among others. In brief, the bow is an expressive tool that jazz bass players
initially utilized for accompaniment purposes and later developed it for solos; it has been
present throughout the evolution of jazz styles.
Problem Statement
Successful jazz bassists possess technical command of the bow necessary for
professional level performance, yet beginning jazz bass students often lack the full
56
57
Kernfield, The New Grove Dictionary of Jazz, 417
Ibid, 417
12
complement and accomplishment of those skills.58 Too few jazz bass students are
familiar and comfortable with arco bow technique. Due to a lack of teaching materials
and pedagogical approaches specifically addressing arco jazz bass, young jazz bass
performers usually leave the bow in the case or do not own one at all.59 Usually jazz
ensemble directors have less experience with strings than orchestra directors and have
little idea where to start giving instruction, thus not making it a priority to teach arco
bass.60
Difficulties arise in beginning bass pedagogy; “The sheer size and unfamiliarity
of the double bass can make it intimidating to students, parents, and teachers.”61
Transporting the bass to and from the student’s home can be problematic, and practice
time can be affected by these logistical considerations.62 String teachers in elementary
and secondary schools are often times not bassists themselves and lack the knowledge to
educate a full array of jazz bass performance techniques.63
Furthermore, there are prejudices about the sound of arco bass in jazz. Some are
critical, asserting that the arco sound is harsh and frequently out of tune.64 Jazz music is
transmitted primarily in an aural tradition; students imitate others in order to assimilate
the sound.65 As John Clayton put it: “Too many people think if you put the bow on the
string and move it back and forth you’re gonna get what you’re looking for.” 66 The
58Goldsby,
John. “Bow techniques for jazz bass.” Strad, June 2009.
John. “Bow techniques for jazz bass”. (2009)
60Anthony Stoops, "Double Bassics: Teaching Double Bass for the Non-Bass Teacher." American String
Teacher 61, no. 3: 30-34, 2011.
61Miranda Wilson, "6 Ways for the Non-Bassist to Teach Double Bass." Strings, 06, 51-52, 2012.
62Wilson, "6 Ways for the Non-Bassist to Teach Double Bass." 63Stoops, "Double Bassics”.
64Eric Fine. "Jazz Departments: Ari Roland: Arco Art - By Eric Fine - Jazz Articles." Jazz Departments:
Ari Roland: Arco Art - By Eric Fine - Jazz Articles. 2008.
65Tirro, Jazz: A History. 66Larry Applebaum. "Before & After: John Clayton." Lets Cool One. April 14, 2011.
59Goldsby,
13
sound starts in the ear of the student who is inspired by the great bass players of our time,
but that is not sufficient. Students require specialized instruction to develop a proper tone
with the bow.
Need For Study
Pedagogical resources for the use of the bow in jazz bass performing are limited.
There is only one commercially available instructional book that specifically addresses
arco techniques for jazz: Jazz Bowing Techniques for the Improvising Bassist by John
Goldsby.67 This text contains techniques and exercises to develop skills for arco jazz
bass. Its exercises are based on various ways of playing scales and is similar to the wellknown Simandl bass method in its fingering schema, but it is not particularly thorough in
regard to various aspects of bow control, especially the all-important bow hold. Goldsby
is also the only published writer in journals with his article Bowing Techniques for Jazz
Bass in Strad magazine. There are scholarly dissertations and essays about jazz artists
who use the bow but none that directly discuss the pedagogy of arco jazz bass.
A need for a more comprehensive pedagogy uniquely focused in arco jazz bass
performance is apparent. Developing exercises based on authentic techniques that wellthought-of artists employ during performance is an effective way for teachers to enable
students to assimilate this style.
The art of arco playing is not emphasized because young jazz bassists are often
not exposed to it and as a result are uncomfortable with the various techniques.68. Due to
67Goldsby,
John. Bowing Techniques for the Improvising Bassist: A New Approach to Playing Arco Jazz.
New Albany, IN: Jamey Aebersold Jazz, 1990.
68Stoops, "Double Bassics.”
14
the size of the instrument it is difficult to attract young performers to the upright bass.69
Consequently, young bass students frequently do not get the same foundational
instruction on their instrument and have to play catch up with other students.70 Bass
performers who do not have prior orchestral training are rarely introduced to the bow and
its expressive possibilities.71 There is a need for a method for instructing beginning jazz
students about the effective of the bow because currently the information is scattered and
incoherent. It takes a significant amount of proper instruction and individual practice to
master the control and finesse to make expressive jazz music with the bow. The correct
approach however can be highly rewarding.
A comprehensive analysis of the history and survey of the evolution of arco
technique is important to understand as a basis in establishing a genuine method of
instruction. The impact of the bow in jazz bass performance is apparent and should be
made clearer to young students. The bow allows artists to express themselves beyond the
normal accompanimental role of bass instruments. Slam Stewart was a star of popular
music and stood out with his unique vocal/arco technique on the bass. His virtuosic
playing and showmanship made him one the top performers of his day. Now, many
young bass players have not even heard of him let alone know his music. His impact on
jazz could be lost along with the many other bass players who tried to break out of the
rigid accompanimental role.
69Tim Crawford. 2009. "Solo Bassists from the Start! The Application of Contemporary Bass Pedagogy
Concepts to Beginning String Class Instruction." American String Teacher 59, no. 3: 40-43
70Crawford,
71Goldsby,
"Solo Bassists from the Start!”
John. “Bow techniques for jazz bass.”
15
Purpose
The purpose of this study is to investigate current practices of arco jazz bass
performance technique in an effort to identify pertinent technical features as a starting
point in developing a teaching pedagogy. The study will analyze the techniques of
various prominent professionals who utilize the bow in their music and will then present
pedagogical ideas based on elements of these performances. The study will present
common arco jazz bass techniques and analyze them in order to gain a deeper
understanding of the idiom.
Research questions include: What are important recordings that illustrate the use
of the bow in jazz and what are some of the techniques that are being used in those
performances? What are often repeated performance devices found in arco jazz bassist’s
presentations? What arco performance devices are unique to jazz? What teaching or
learning sequence would be beneficial to students in acquiring jazz bowing techniques?
CHAPTER TWO: LITERATURE REVIEW
Much has been written generally on the topic of bass pedagogy, but only a few
publications directly address the bow in jazz bass performance. There are a large number
of methods that focus on classical style bass bowing and also a number of jazz violin
methods that exist with information on swing and phrasing with the bow. This chapter
will review the current literature on classical bass pedagogy, jazz bass pedagogy, and
more specifically jazz bass bowing pedagogy.
Historical and reference texts explain the history and development of instruction
for playing the double bass. Theses/Dissertations expound upon the role of the bass in the
jazz combo, and serve as analysis of playing styles. Method books illustrate a plethora of
techniques used to produce sound with the bow. There are also journals, magazines,
websites, and other sources that discuss the topic of arco jazz bass that focus on or are
written by eminent jazz bassists. Recordings are another very useful resource as they are
the historical reference material that typical jazz students utilize for the learning of jazz.
Traditional Bass Pedagogy
Double bass methods have existed since the end of the 18th century, but at that
time most of the methods were devoted to the left-hand fingerboard technique. One of the
earliest and most complete method books for double bass is Franz Simandl’s New
Method for the Double Bass.72 This method from 1881 attends to both right and left hand
techniques in preparation for classical orchestral and solo playing. In Part III, Volume 1
72Franz
Simandl, and Frederick Zimmermann. New method for the double bass: English and German. New
York: C. Fischer, 1964.
16
17
of his method, Simandl addresses notated expression markings and the corresponding
bow strokes to create the desired sound. There is very little mention of the bow hold or
the technique of the stroke, it primarily focuses on the various expression markings and
how to properly perform them. Along with many etudes for left hand technique, he
includes a single etude that is to be performed with twenty-eight permutations of
bowings, varying from staccato to groups of eight notes played in one bow stroke. Later
in the text he addresses various techniques for bowing such as spicatto, martelé, detaché,
and trill bowings but does not directly address the technique of the bow stroke.73
In response to Simandl’s work, Francois Rabbath published his own method in
1977. His Nouvelle Technique de la Contrabasse was radical in its freedom of expression
and personalization. In his forward, Rabbath gives the student the freedom to take the
method’s fingerings with some level of interpretation and inspires the student to find
techniques that work best and to explore the complete range of the instrument, as well as
tonal and timbral possibilities of the instrument.74 Included in the four-volume method
are creatively composed etudes designed to familiarize the student with the originally
devised fingerboard divisions. These etudes are very musical, lay well on the fingerboard,
and progress in a logical way. The method focused on left hand technique and bow
articulation within singable and thoughtful etudes. Later method books by other authors
have used Rabbath’s same fingerboard division and pedagogical techniques.
As a compilation of advanced repertoire with instruction, George Vance’s
Progressive Repertoire for the Double Bass is a useful compendium of repertoire for the
progressing student. The repertoire advances to a high level, and includes fingerings,
73Simandl
& Zimmerman, New method for the double bass: English and German. Rabbath,. Nouvelle technique de la contrebasse: méthode complète et progressive = A new
technique for the double bass: a comprehensive tutor. Paris: A. Leduc, 1977.
74François
18
bowings, and other expressions.75 The fingerings are based on Rabbath’s schema and
help to guide the student in the upper registers of the double bass.
In 1966 Frederick Zimmerman published his book Contemporary Concept of
Bowing Technique.76 In his original work, he directly addressed right-hand bow
technique and examined the mechanics of the bow stroke. The author includes diagrams
with contact points and illustrations of the bow on the string. He illustrates the bow stroke
as three distinct parts that are moving in conjunction. The first is the horizontal
movements of the bow arm. The second is the raising and lowering motions of the arm.
Thirdly, the tilting actions of the hand. All three of these constituent elements move
together and contribute to an even bow stroke. In his method he pays special attention to
string changes and how the bow facilitates those switches. The method includes
numerous pages of permutations of a single etude with many alternative bowings for the
same passage. He connects the abstracted techniques to real musical applications. This is
one of the first methods to directly address only the bow technique for double bass and is
one of the most comprehensive and complete texts regarding the topic.
Jazz Bass Pedagogy
The well-known contemporary jazz bassist Ron Carter, who performed with
Miles Davis and other prominent jazz bandleaders, developed his own method for double
bass in 1977. However, his Comprehensive Bass Method is not specifically a method for
jazz bass; the word jazz is not even present in the book. It is similar to Simandl’s method
75GeorgeVance,AnnetteCostanzi,FrançoisRabbath,andElizabethAzcona-Hartmark.Progressive
repertoireforthedoublebass.NewYork,NY:C.Fischer,2000.
76Frederick Zimmermann. A Contemporary Concept of Bowing Technique for the Double Bass. New York:
MCA Music Publishers, 1990.
19
in many ways in its fingering schema and position layout of the bass neck. Also, Carter
composes musical etudes that have fingerings written out for the student. In some of the
examples he provides various fingering solutions for the same passage. A concept that
runs throughout this work is Carter’s ingenious use of open strings while in higher
positions such as the IV and V positions. This makes for some challenging open string
crossing patterns. Of the 94-page text, the first 87 pages are to be practiced with the bow;
pizzicato is not mentioned until the last 8 pages of the book. Carter was classically
trained at the Eastman School of Music and most likely had access to the Simandl
method book as well as other methods; one can see the influence in his method.77
Another well-known method for jazz bass is Rufus Reid’s The Evolving Bassist.
The author set out to devise a “total bass concept” and includes information on acoustic
as well as electric basses, and arco and pizzicato techniques.78 The beginning instructs the
student on how to hold the bow and how to draw a sound. As the method progresses, the
instructions tell the student that all of the exercises can be performed “with or without the
bow, and on the electric bass.” That is where the reference to the bows ends and the book
continues with walking bass lines and a section entitled “Soloistic Concept.” It seems that
for this teaching method the bow is regarded as a tool for beginning double bass, mostly
useful for intonation practice and slow bowing, although he does reference arco soloists
such as Blanton and Stewart.
77Ron
Carter. Ron Carter Comprehensive Bass Method. New York: Charles Hansen Music and Books,
Inc., 1977.
78Rufus Reid. The Evolving Bassist: A Comprehensive Method in Developing a Total Musical Concept for
the Aspiring Jazz Bass Player. 2000.
20
Jazz Bass Bowing Pedagogy
In 1990 John Goldsby, bassist for the WDR Big Band in Cologne, Germany,
released his own technique book for jazz bass bowing. His Jazz Bowing Techniques for
the Improvising Bassist (1990, rev. 2010) is a great method addressing the bowing
techniques of jazz artists, such as Jimmie Blanton, Slam Stewart, and Paul Chambers.
The book begins with basic open string exercises with various articulations, and then
proceeds with string crossing exercises, followed by articulation drills. There is a section
exploring the subtlety of the swing rhythm and the nature of bowing those particular
rhythms. He composes exercises with various slur bowings through scalar passages
utilizing many permutations of bowing possibilities. He then introduces an arpeggio
pattern composed of major, minor, and augmented arpeggios and offers various bowing
permutations. The second half of the book is devoted to a series of originally composed
tunes utilizing the techniques presented previously in the book, along with other
performance transcriptions from various artists who use the bow. The original tunes have
bowings notated with chord changes in lead sheet style, to be performed with a live
ensemble of musicians or with the accompanying CD. The transcriptions are of Blanton,
Stewart, Chambers, Eddie Gomez, and the author himself, John Goldsby. They include
bowings and chord changes to be performed with a live ensemble. He concludes the text
with a discography of early and contemporary jazz bassists who have recorded music
with arco bass. 79
There are a small number of scholarly dissertations on the subject of arco jazz
bass and only a few reference jazz musicians that utilized arco in their performing. Jeff
Campbell’s Two Profiles in the Development of Jazz Bass Playing: A Study of Jimmy
79Goldsby,
Bowing Techniques for the Improvising Bassist. 21
Blanton and Ron Carter (2002). This is a wonderfully written thesis that examines two
bass performers who very influential in modern bass playing. Campbell explores
Blanton’s playing and suggests the ideas that Blanton’s soloistic presence brought the
jazz bass into a new role from accompanist to soloist. Previously, the jazz bassists
primarily functioned as rhythm section accompaniments for lead instruments and rarely
took solos. Blanton changed their role in this regard. The profile of Ron Carter explores
Carter’s walking lines and approach to ensemble playing. He also suggests the idea that
Carter was influenced by the change in technology through the introduction of steel
strings and amplification. His dissertation is thorough in its investigation of these two
players and contributes significantly to the understanding of the role of the bass in jazz
music.80
80Campbell,
"Two Profiles in the Development of Jazz Bass Playing: A Study of Jimmy Blanton and Ron
Carter." 2002.
CHAPTER THREE: METHOD
Developing performance pedagogy is a complicated task. The present study is
primarily based upon scholarly research on performance pedagogy in music. HannaWeir’s Developing a Personal Pedagogy of Conducting (2013) demonstrates that through
conducting a survey of common practices and a thorough analysis of texts from leading
pedagogues, conclusions about current practice can be made and pedagogical methods
can be developed.81 Robinson-Martin’s Developing a Pedagogy for Gospel Singing
(2010) proposes that scholarly research along with expert advice can contribute to the
development of pedagogy.82 This study will be based in these methodology and will
identify and analyze historical and contemporary jazz arco techniques in order to develop
a pedagogy based on that research.
In order to examine the contemporary jazz bassist’s approach to using the bow, an
analysis of jazz artists that used the bow on record as well as in live performance is
necessary. After careful research, a discography of recordings with evidence of the use of
the bow will be compiled. There are hundreds of jazz recordings that include some
instance of arco bass and new recordings are being made every day, therefore the
discography will necessarily be a purposefully selected sample.
After the discography is compiled, solos and melodies from five notable arco jazz
bassists will be transcribed. The focus here will be on contemporary bass players because
81ScotHanna-Weir."DevelopingaPersonalPedagogyofConducting."OrderNo.3590622,University
ofMaryland,CollegePark,2013.
82TrineiceRobinson-Martin."DevelopingaPedagogyforGospelSinging:UnderstandingtheCultural
AestheticsandPerformanceComponentsofaVocalPerformanceinGospelMusic."TeachersCollege,
ColumbiaUniversity,2010.
22
23
of the prior availability of complete solo bass transcriptions of Blanton, Stewart, and
Chambers. I will then identify unique musical practices and techniques within each
example. These new transcriptions will include the identification of bowings and the
analysis of the techniques used.
A thorough investigation into the current pedagogies of jazz bass bowing, general
bass bowing, and jazz pedagogy is necessary to construct a new method. Existing sources
for jazz bass pedagogy will provide the foundation of this paper. Method books are a key
source; syllabi and course materials from leading pedagogues in the field are equally as
important to the body of knowledge.83
The transcriptions will undergo a thorough analysis of the techniques and stylistic
considerations. Dissecting the common practices of jazz arco technique are intended to
shine a clarifying light on the expressive use of the bow in jazz. Finally, abstracted
passages and original etudes based on these techniques will be presented. It will reference
Goldsby’s approach to a modern bowing method, but will be original in that its content
will be based upon scholarly analysis of other contemporary techniques.
Comparing these common techniques to other current pedagogical trends is the
last step in developing performance pedagogy for jazz bass bowing. This synthesis of the
existing knowledge and current practice should serve towards the development of
pedagogy and add to the body of knowledge of arco jazz bass playing.
83Hanna-Weir,"DevelopingaPersonalPedagogyofConducting."
CHAPTER FOUR: RESULTS/ANALYSIS
What are important recordings that illustrate the use of the bow in jazz and what
are some of the technical features that are being used in those performances?
Included in the Selected Discography of Arco Jazz Bass Performances, located in
the appendix, are many examples of bassists using the bow in performance on record. In
order to answer this research question it is beneficial to look at the recordings
chronologically, broken into four groups: recordings from the 1920s-‘30s, 1940s-‘50s,
1960s-‘80s, 1990s-present. These groups don’t necessarily represent musical movements
or genres and some musicians fall in to more than one group, but the division does help to
illustrate stylistic changes that have evolved with the technique over the years.
1920s-‘30s
Recording techniques in the early ‘20s make it difficult for the bass to be heard, if
there was one at all. The tuba can be heard on many early jazz records and some believe
the tuba to be more suited for outside marching bands and bass for inside dance bands.
Before the mid-twenties, records were made by the pre-microphone “acoustical” process,
where musicians played into a large horn, which was connected to a mechanical needle
that converted the sound waves into grooves on the record. Bass frequencies were
especially problematic, as they would cause the needle to skip or not be audible at all.84
Not until 1925, when the “big two” recording companies Victor and Columbia adopted
84
Meyer, Dan. “New Orleans String Bass Pioneers,” Wavelength, December, 1990.
24
25
the new Western Electric recording process that utilized electric microphones, did the
string bass fill a prominent role in early jazz recordings.85
The recording Ory’s Creole Trombone from 1921 of “Montudi” Garland with Kid
Ory is very difficult to discern if there is even bass at all although he is listed in the
credits on bass.86 A majority of early New Orleans bass players describe switching
between techniques in the early days of jazz and this early recording may follow that
formula. Montudi was known for his arco style, for example, later in his career, his arco
bass solo on Blues For Jimmy was a common piece in the band’s set.87 More recordings
were released after 1925 where we can hear the bass much clearer than before, but is still
somewhat obscured in the recording quality in some examples.
Bill Johnson was said to be one of the first bassists to pluck his instrument so
therefore bowing had to have been characteristic of his style. In his recordings with Jelly
Roll Morton and the Hot Peppers from 1926-28, with acute listening, one can hear the
bass smoothly slide into notes and accompany blues numbers with the bow. He will often
break into slap pizzicato at more lively sections of the piece. Smoke House Blues and
Grandpa’s Spells (1926) are moderate tempo blues numbers where Johnson can possibly
be heard with the bow.88 The smooth envelope of the bow compared to the percussive
attack of the slap-pizzicato give away the transitions between techniques.
One definitive example of a bassist switching between techniques is Wellman
Braud’s performance of The Blues I Love To Sing (1927) with the Duke Ellington
85
Ibid
Ory, Kid. Ory’s Creole Trombone. Nordskog, 3009. 1921/1922.
87
Ory, Kid. Blues For Jimmy. Crescent, 2. 1944.
88
Jelly Roll Morton And His Hot Peppers. Grandpa’s Spells. Victor, Vic 20431. 1926.
86
26
Orchestra.89 Braud starts off pizzicato mixing normal pizzicato, slap-pizzicato, and nonpitched rhythmic taps on the fingerboard. He then transitions to arco when the vocalist
comes in at measure 11 of Figure 1.1, then back to pizzicato four bars later. His bow
stroke is short with a strong attack, to create a bouncy note to for the vocalist to sing
upon.
pizz
? 4 œ Œ #œ »
4
œ
»
œ ¿ œ Œ
»
»
œ Œ #œ œ
»
œ œ œ ¿
œ ¿ #œ ¿
œ ¿ #œ ¿
»
œ Œ œ ¿
»
¿
œ
#œ ¿
œ ¿ œ nœ
6
? œ ¿ œ» ¿
pizz
11
arco
œ Œ œ Œ
œ Œ œ Œ
»
» »
œ Œ #œ œ œ ¿ œ ¿
? œ» ¿ #œ» ¿ œ» ¿ œ nœ» œ» Œ
Œ
œ
»
»
œ
Œ
Œ
œ
œ Œ bœ» Œ
? œ Œ œ Œ
œ Œ œ Œ
17
œ» Œ œ» Œ
pizz
23
arco
? œ Œ œ Œ
œ Œ œ Œ
œ Œ œ Œ
» » » »
œ œ #œ œ
» » » »
œ œ œ œ
28
? œ» ¿ #œ» ¿
»
œ ¿ œ nœ œ Œ œ Œ
œ Œ œ Œ
œ Œ Ó
∑
Figure 1.1 Transition between slap pizzicato and arco in The Blues I Love To Sing
Later in the piece he blends with the trombone section and plays a half-note
descending bass line in a more legato and connected manner.
89
Ellington, Duke. The Blues I Love To Sing. Victor, Vic 21490. 1927.
27
arco
?4 ˙
4
˙
˙
˙
˙
b˙
n˙
b˙
˙
˙
˙
b˙
6
˙
?
˙
n˙
˙
˙
˙
n˙
˙
11
? b˙
˙
n˙
˙
b˙
˙
b˙
˙
œ bœ ˙
bœ nœ œ Œ
Figure 1.2 Legato half-note bass line in The Blues I Love To Sing
He transitions back to pizzicato for a moment then ends the piece in arco with a
final held note. Braud can be heard bowing in other examples with the Duke Ellington
Orchestra such as Black Beauty, and Jubilee Stomp (1928).90
Slam Stewart’s records with Slim Galliard feature the arco bass prominently in his
orchestrations with his band mate, a guitar player. Slam would usually fill the roll as
premier soloist in the group, as the guitar was usually holding down the rhythm as the
first solo in an arrangement would come up. Slam blended the sound of the arco bass
with his vocalizations at an octave up, which helped to define the line and project the
sound over the other instruments. Hearing the bass playing melodically in the low register
is difficult so Slam solved this problem by reinforcing the low with a higher octave. His
solo on Flat Fleet Floogie (1938) utilizes repetition, blues inflections and scales, a
swinging eighth-note feel, and phrasing common to the swing era.91 He starts the solo
without his usual voice accompaniment, which allows us to clearly hear his highly
refined approach to arco bass. He mostly uses separate bow strokes on eight-note lines
with occasional slurred triplets and other articulations. His tone is even and focused while
90Ellington,Duke.BlackBeauty/JubileeStomp.Victor,Vic21580.1928.
91SlimAndSlam.FlatFleetFloogie.Affinity,DC
AFS 1034-3. 1938.
28
using a German bow on gut strings. He smoothly transitions to slap pizzicato
accompaniment after wrapping up his solo in a tasteful way. Slim and Slam had a great
sense of arrangement and feature lyrical melodic statements, vocal shout-melodies,
instrumental solos, spoken-word introductions and endings in a creative way. Slam was
one of the first musicians to introduce the bow to a wide audience as a refined, soloistic
voice.
1940s-‘50s
Slam Stewart’s career continued the 40s-50s where he and a few other bassists
were utilizing the bow as a solo voice in small group settings. While some older bassists
of the time continued to feature the bow in an accompanimental fashion, see below:
Bowin The Blues, Garland with Ory, (1944) players in the 40s-50s generally used the bow
to play legato melody statements or to improvise solos.92 Stewart continued to record and
feature his characteristic arco style with artists such as Art Tatum, Dark Eyes (1944)93
and Red Norvo, Slam Slam Blues (1945)94.
92Bechet,SydneyandMezzro,Mez.Bowin’TheBlues.KingJazz,141.1945.
93Art
Tatum Trio. Dark Eyes. Tulip Records, TLP 104. 1944.
Red. The Red Norvo Story. Savoy, Sav SJL 2212. 1945.
94Norvo,
Bowin' The Blues
29
F7
? b4
4œ œ œ œ
œ œ œ
œ
B¨7
5
?
œ œ
bœ œ
? œ œ œ œ
b
œ bœ œ œ
F7
bœ œ œ
œ
C7
9
œ
œ œ œ
œ
œ nœ œ
œ œ œ œ
F7
œ œ œ œ
œ
œ œ œ
C7
œ œ œ œ
Figure 1.3 Pops Foster playing bowed bass line for Bowin’ The Blues
Another artist to work with Red Norvo and utilize the bow at this time was
Charles Mingus. In the trio recording with Tal Farlow and Norvo of Prelude To A Kiss
(1950) Mingus begins the piece bowing bass notes in the lower register, then begins to
pluck during the improvised solos.95 Arco again on a recap of the melody. The
arrangement is well-orchestrated, almost classical chamber ensemble feel, with
predetermined melodic and harmonic features. Mingus has a big, full, refined arco sound
and controlled vibrato possibly due to his studying with the classical teacher.96 Mingus
plays in the upper register with great intonation and facility on Mood Indigo (1950) from
the same session.97 Mingus also introduced the bow to more “free” types of
improvisation. If you listen to his recording of Foggy Day (1956) from the album
Pithecanthropus Erectus, Mingus can be heard creating programmatic sounds, creating
an auditory cityscape.98
95Ibid
96Kernfield, The New Grove Dictionary of Jazz, (London: Macmillan, 1994)
97Norvo,
Red. The Red Norvo Story. Savoy, Sav SJL 2212. 1945.
Charles. Pithecanthropus Erectus. Atlantic, 1237. 1956.
98Mingus,
30
As discussed earlier, Jimmie Blanton was a highly influential bow stylist. His
arrangements with Duke Ellington of Body & Soul99 and Sophisticated Lady100 showcase
the arco bass in a sophisticated, refined manner that stands up to any other instrumental
soloist. In his short career, this session may be the only instances of him playing arco on
record. Campbell describes Blanton’s stylistic vocabulary as frequent use of chromatic
embellishments, florid decoration, trills, dissonance, and 16th-note double time passages
consisting of scales, arpeggios, and chromatic groupings.101 Blanton was criticized for his
harsh tone but Campbell points out that recording techniques at the time actually
accentuated the “scratchy” character of gut strings because the microphones were usually
very close to capture the pizzicato sound.102
As we can see in the Selected Discography, another artist to embrace the bow was
Paul Chambers. Paul was a great improviser and would occasionally solo with the bow
on many projects as a side musician and on his own albums. Chambers can be heard
performing on the bow with such artists as Red Garland, Sonny Clark, Miles Davis, and
others. On his solo record Bass On Top Chambers interprets the standard Yesterdays in a
creative way.103 He starts with a rubato introduction in the upper register, playing the
melody in a dramatic way similar to a classical bass concerto such as Kousevitzky.104 As
he finishes the intro, the time is established with the drums and Chambers plays an
embellished melody with eighth-note interjections and bluesy inflections added to the
original melody.
99Ellington,
Duke. Body And Soul. Victor, Vic 27406.
Duke. Sophisticated Lady. Victor, Vic 27221. 1940.
101Campbell, "Two Profiles in the Development of Jazz Bass Playing.”,42
102Ibid,45
103Chambers, Paul. Bass On Top. Blue Note, BLP 1569. 1957.
104Kousevitzky
100Ellington,
31
The next artist we see in the discography is Major Holley. Holley was an avid
supporter of arco bass and recorded many cuts with his signature bowing and singing at
pitch. Many of his records that I found were recorded in the 60s-80s and his style is
different than that of his predecessors. Like Slam, Holley had a comical approach to show
business and featured his vocalizations as a sort of comic relief to the serious jazz
audience. He can be heard bowing on record with Coleman Hawkins, Kenny Burrell, and
on a duo record with Slam called Shut Yo’ Mouth.105 Again, although it is a little comical
at times, these two musicians showcase their command of the instrument and seem like
they are having fun the whole time.
1960s-‘80s
Artists during the 60s and 70s were experimenting with new sounds and
approaches to jazz and Ron Carter was one of those musicians. Known for his work with
the second Miles Davis Quintet, Ron was known as a cutting-edge artist and on his later
solo recordings you can hear him stretching and pushing boundaries. From his album
Piccolo Carter plays a small-scale piccolo bass, which he plucks and bows. On the track
Sun Shower he plays a soaring melody accompanied by bass, drums, and a full band.106
Carter takes a lengthy improvised solo utilizing simple phrasing and a limited register. He
uses sequence and repeated phrases as well as double stops. Miroslav Vitous was another
musician of this era who played experimental music with the bow. Listen to his free,
open solo during the tune Transformation on his solo album released on ECM.107
105Stewart,
Slam and Holley, Major. Shut Yo’ Mouth. Delos, DE 1024. 1981.
Ron. Piccolo. Milestone Records, M-55004. 1977.
107Vitous, Miroslav. Emergence. ECM, 1312. 1986.
106Carter,
32
1990s-present
The ‘90s and early 2000s saw a renaissance of arco bass soloists with facile
technique and its acceptance in to jazz. Many bassists were incorporating the bow in new
and novel ways. From studying the greats like Slam, Blanton, and Chambers, new artists
were able to push the sound and technique further. One artist to exemplify this is
Christian McBride. The bow is all over his original music and arrangements as a
bandleader. On his first solo album he performs an incredible version of Night Train
unaccompanied. He switches between arco and pizz and the result is a swinging, bluesy,
version of the Oscar Peterson classic.108 On his second album “Number Two Express” he
recorded a multi-layered bass over-dub version of Little Sunflower.109 His version of
Ornette Coleman’s Jayne is an example of modern bop vocabulary on an up-tempo
contrafact for Out of Nowhere.110 He can later be heard mixing electronics with the arco
bass on the lead track of his live album “Live At Tonic”.111
In his performance of Jayne, McBride uses a variety of articulations to create a
dynamic performance that swings. He uses a combination of single note bowing and twonote slurred groupings to create a sense of forward motion that does not feel predictable.
Often the slurs occur on weak to strong beats such as the second eighth-note to the next
downbeat, for example in measures three through five of Figure 2.1. McBride uses this
bowing a lot, especially on the and-of-four to one and the and-of-two to three. He also
varies the entrances of his phrasing between on-the-beat and off-the-beat entrances as we
can see in the figure below.
108McBride,
109McBride,
Christian. Getting’ To It. Verve, 314 523 989-2. 1994.
Christian. Number Two Express. Verve, 314 529 585-2. 1995.
110Ibid.
111McBride,
Christian. Live At Tonic. Ropeadope Records. RCD16067. 2006.
33
GŒ„Š7
? #4
4
B¨‹7
œ œ œ œ œ œ Œ
∑
# œ œ n œ œ bE¨7
œ nœ bœ #œ nœ œ bœ
œ
Ó
GŒ„Š7
œ n œ Bº7 œ œ b œ
œ
œ œE7 œ
b
œ
? # œ nœ œ œ nœ œ œ œ œ œ ‰ œ
J
J
n
œ
#œ œ œ œ œ
‰ ‰
J
5
9
A‹7
B‹7
E7
A‹7
? # œ œ œ œ œ ‰ bœj nœ œ #œ œ #œ œ Œ
<#>E¨7
œ nœ
? # œ œ bœ œbœ œ œbœ nœ œbœ Œ
‰ bœ nœ nœ
J
#œ
œ œ #œ œ œ œ
Œ Œ ‰ J
A‹7
D7½
13
œ
bœ
‰ œ nœ nœ œ œ œ bœ œ œbœ œ œ
J
Figure 2.1 Varied slurs and single-note lines in Jayne
McBride would sometimes link consecutive groups of two-note slurs together and
create a smooth eighth-note line like in measure five and six of Figure 2.2. He generally
starts these phrases on off-beats to begin the sequence of slurs from weak to strong beats
like how he starts his the phrases into measure three, five, and ten of this example.
GŒ„Š7
B¨‹7
œ
™ œ n œ œ bœ E¨‹7
œ
#
œ
œ
œ
œ
œ
œ
œ
? #4 œ œ œ
œ
œ bœ œ œ œ bœ Œ
Œ ‰ J
J
4
GŒ„Š7 œ œ n œ œ
B‹7
œ œ nœ œ œ
œ œ
?# ‰ J
œ œ œ œ bœ nœ œ œ œ œ œ nœ
5
3
E7
?# œ
A‹7
8
œ œ œ œ
œ œ
Œ
B‹7
‰ œJ œ œ Œ
œ œ œ #E7œ
œ Œ
‰ J
3
Figure 2.2 Groupings of two-note slurs in Jayne
Another recurring feature in McBride’s arco improvisation is his use of slurred
neighbor tones. This concept is inherent in consecutive, scalar two-note groupings but is
34
more specific in that most of McBride’s slurs are between adjacent neighbors, upper and
lower. This happens in measure two of the example below as well as in measures three,
six, seven, and eight. These slurred neighbor tones facilitate melodic enclosures of chord
tones like in measure three to four.
A‹7
B‹7
E7
A‹7
œ
œ nœ œ œ #œ œ bœ œ œ ‰ œ Œ ‰ bœ
J
J
j
œ#œ œ Œ
? #4
4 œ ™ œj œ œ ‰ œ œ œ œ
E¨7
A‹7
D7½
5
œ
œ œ bœ œ œ
? # ‰ œ ‰ œ ‰ bœJ ‰ œJ bœ œ nœ bœ œ ‰ #œ nœ œ nœ œ œ œ
Ó
J
J J
Figure 2.3 Slurs between upper and lower neighbors in Jayne
McBride plays a series of upper-to-lower neighbor slurs in this dramatic rise in
pitch in this example.
GŒ„Š7
œ
œ
œ
œ
œ
œ
œ
? #4
4œ
œ
œ
œ
œ
œ
œ
œ
œ
Figure 2.4 Series of upper-to-lower neighbor slurs in Jayne
McBride created a compelling improvised solo on Jayne through the use of
eighth-note based bebop vocabulary, utilized varied bowings such as single note, two and
three note slur groupings, with chromatic melodic enclosures and diatonic scalar
passages. McBride drives the band forward during the melodic solo with a feel that is on
the top of the beat, pushing and phrasing with lots of energy. He is a dynamic performer
that has many arco performances on record and in his live shows.
35
Another artist who demonstrates jazz bass bowing in the 21st century is John
Clayton. On the Album L.A. Session, John Clayton joins Paul Kuhn and long-time
collaborator Jeff Hamilton to perform the standard Emily.112 Clayton can be heard on an
alternate arrangement of the same tune, this time with the Clayton-Hamilton Orchestra.
We will compare both versions. This performance is novel in the fact that the arco bass is
featured in an arrangement for big band.113 Arco bass is normally found in small group
settings but this is unique in that regard. He mixes the solo double bass with subtle
backgrounds and presents the melody with precision and sensitivity. Clayton primarily
plays ballad melodies with the bow or blues type melodies.
Clayton’s improvised solo from “L.A. Sessions” on Emily begins with a phrase
that mimics the rhythm and contour of the original melody. His phrasing is relaxed and
he generally starts melodic phrases on strong beats. Clayton normally uses slurs on two
eighth-note groupings and triplet figures as seen in the figure below.
arco
C
A‹7
œ œ ˙
D‹7
G7
œ œ
œ œ œ
˙
œ
≈ œ
?3
4
C
G‹
5
œ œ œ
œû œ
C7
œ
FŒ„Š7
˙™
B¨9
œ œ œ ˙
˙
? Œ
Œ
3
Figure 3.1 Opening of solo in Emily
His vocabulary is mostly diatonic with some chromatic neighbors occurring
occasionally. He generally plays in the upper register, using thumb position as an anchor
112Kuhn,
Paul. The L.A. Session. In+Out Records, IOR CD 77. 2013.
Jazz Orchestra. Explosive! Qwest Records, 9 47286-2. 1999.
113Clayton-Hamilton
36
for much of his vocabulary. From observing video footage of him playing, one can notice
his use of vibrato with the thumb.
E7
A‹7
D7
D‹7
G&7
Ϫ
œ #œ œ #œ ™
J
œ œû œ
œ œ œ œ œ
?3 Ó
4
œ nœ #œ
J
Figure 3.2 Slurred chromatic neighbor tones in Emily
Clayton adheres closely to the original melody in his solo. As we can see in the
figure below, Clayton quotes the original melody but embellishes it with repeated notes,
shorter note values, and harmonizations with the original contour like in measure 5
below.
C
° 3
&4 œ œ ˙
C
3
¢& 4 œ œ ˙
A‹7
œœ˙
A‹7
œœ˙
D‹7
œ™ œ œ ˙™
œ œ ™ œj œ ™ œj œ
J
D‹7
G7
CŒ„Š7
C&7
FŒ„Š7
œ œœœœ œœ
œ
œ˙
œ œ œ œ œ œ œ œ œ
œœ˙
Figure 3.3 Comparison between the original and Clayton’s variation of Emily
Clayton’s approach to the tune is very similar on his recording a few years earlier
with the Clayton-Hamilton Big Band. The bass performs the melody on the out head and
Clayton beautifully embellishes it with slurred groupings, slurred enclosures, and
separate quarter note figures.
37
C
A‹7
3
& 4 œ œ œ™ œ œ œ œ ˙
7
FŒ„Š7
& œ nœ bœ œ
D‹7
G7
CŒ„Š7
C&7
œ œœœœ
œ œ œœœœ œ œ œ
œ
œ
œ œ
E7(b9)
A‹7
œ œ œ #œ ˙
œ œ œ #œ n˙
B7(b9)
œ nœ
˙
#œ
3
11
E‹7
& œ œ œ™
A7
j
œ #œ œ œ œ
D‹7
G7
œ œ œ™ n œj œ œ œ
œ
B¨7(#11)
œœœ ˙
Figure 3.4 Embellishment of melody in Emily
Clayton’s beautiful treatment of Emily embellishes the original melody through
harmonization, quotation, and new original material, utilizing a wide range. He has great
intonation and a full, bel-canto tone that he creates with a German-style bow.
Bassist Lynn Seaton has recorded many works utilizing the bow. On his solo bass
album “Solo Flights” Seaton can be heard at a blistering tempo on his composition
Trane’s Changes.114 An unaccompanied piece that utilizes John Coltrane’s famous
“Giant Steps” harmonic sequence and features double-stop chords. He then improvises
single line melodies. Lynn’s bowing can seem heavy and scratchy but his facility and
harmonic complexity compensate. His solo on Indiana from his album “Puttin’ On The
Ritz” is quite astonishing.115
Lynn Seaton’s performance of Liltin’ With Milton is an unaccompanied blues solo
performance for arco and pizzicato double bass. Seaton presents an introduction that is
free time and ad. lib. and helps to set up the main shuffle ostinato motive that is the
anchor for the piece. The opening statement is an open, free-time blues fantasy that
incorporates arco and pizzicato techniques in a dazzling way. Seaton frequently plucks
114Seaton,
115Seaton,
Lynn. Solo Flights. Omnitone. 2000.
Lynn. Puttin’ On The Ritz. Nagel-Heyer. 2005.
38
dominant seven triads as well as second position major triads. He occasionally begins on
a C dominant and slides up to F dominant as seen in measure three of the figure below.
The pizzicato chords are interspersed with improvised arco blues melodies played with
light, airy, almost guitar distortion-like tone. The timing is free and the phrasing follows
the feel of the line with much passion. Bowings are primarily separate with occasional
grace note slurs.
Ad lib.
arco
bpizz
˙˙ b œj œ œ b œ œ œ œ O O
?b ˙
bpizz
œœ b ˙˙
œ ˙
arco
bœj
bœ O bœ œ œ œ O O
O
mf
pizz
n œ # œ œ œ b œ œ b œ b œj œ œ b œj œ b œ œ
arcoœ b œ œ
b
˙
œ
œ
œ
œ nœ b˙
? b nbœœœ n˙˙ bœ
3
Figure 4.1 Alternating between pizzicato chords and arco melodies in Liltin’ With Milton
Seaton creates a variety of bowing timbres through his control of the bow. In the
passage below, the first phrase has a hollow sound with light pressure while the second
phrase is played with a heavier bow and sounds rougher with more intensity. The modern
bassist frequently moves in and out of these bowing sounds, often times single phrases
necessitate multiple bowing timbres and tones.
arco
? b bœ
œ bœ
œ ùb O
œ
œ
œ
œ , bO
ù
œ
bœ
j
œ
˙
œ
bpizz
œ œ arco
bœ
? b œ œ œ œ œ œbœJ œ œ œ œ œ œ œ œ œ œùœ œ œ œbœ œ œ œ œ œ bœ œ
2
3
3
Figure 4.2 Varied bow timbres in Liltin’ With Milton
39
Lynn Seaton combines the pizzicato chordal motive with arco and creates a
compelling musical idea. He first plucks a dominant seventh chord then articulates it with
a bowed tremolo sweep of the same seventh chord. This figure descends chromatically in
sequence. This passage illustrates Seaton’s frequent change between arco and pizzicato
techniques in this introduction.
?b œ
œ
œ n#œœ
bnœœ narco
˙˙
œ bœ
˙
pizz
˙˙
˙
∏∏∏∏∏
arco
pizz
∏∏∏∏∏
˙˙
˙
pizz
arco
œ
œ nœ #œ
∏∏∏∏∏
2
∏∏∏∏∏
arco
pizz b œ
? b œœœ œœ
b œœ #nœœ
œ nœ
˙˙
˙
n œ n ˙~~~~
pizz b ˙
b
œ ˙
~~~~~~
œ œ œ nœ
~~ œ nœ œ n œœ n˙
˙˙
˙
rit.
Figure 4.3 Alternating between pizzicato and arco in Liltin’ With Milton
After the long introduction, Lynn then transitions into a double-stop shuffle
ostinato utilizing the root, fifth, sixth, and dominant seventh of the I and IV chords. This
is a main motive of the piece and Seaton frequently returns to this device throughout. The
passage is played with a hooked bowing that creates the shuffle feel. The turnaround is a
single eighth-note line with the same hooked bowing. Seaton uses the hooked style
bowing throughout the piece to create a “liltin’” sense of swing.
40
F7
œ œ bœ œ œ œ
œ œ bœ œ œ œ
œ œ bœ œ œ œ
? b 4 œœ œœ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ
4
B¨7
œ œœ b œœ œœ œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ
œ
œ
œ
? œ œ
b
4
F7
œ œœ b œœ œœ œœ œœ œ œ œœ œœ b œœ œœ œœ œœ G‹7
œ œ œ œ
œ
œ
œ
œ
œ
œ
œ
?b œ œ
œ œ
7
C7
F7
G‹7
C7
œ œ bœ œ œ
œ œ bœ œ œ œ bœ œ œ
?b
œ œ
#œ œ œ œ nœ œ œ œ
10
3
Figure 4.4 Hooked bowing pattern in Liltin’ With Milton
Seaton continues with the shuffle pattern ostinato figure for a few choruses then
later departs with single line blues improvisations. Seaton’s musical vocabulary consists
of scales, arpeggios, and chromatic groupings with some chromatic alteration on
dominant chords. He also uses double-stops as a melodic tool, like the fifths illustrated
below. Seaton utilizes the whole range of the instrument and often times will stay in
thumb position for a period of time and traverse his way down and up the neck. He uses
standard modern bebop vocabulary like in the last measure.
F7
? b 4 ˙˙
4
œœ ™™
˙˙
œœ
J Œ
œœ œœ œ b œ œ nœ bœ œ
œ œ ‰ œ™
œœ
œœ œ b œ œ nœ bœ œ œ œ œ #œ
nœ
œ ‰ œ
J
G‹7
C7
F7
G‹7
C7
œœœœœ
9
n
œ
œ
œ
œ
3
œ
œ
?b œ œ œ œ
œ œ œ œ œ œj
&nœ œ #œ
œ œ œn œ Œ
5
B¨7
? b ˙˙
F7
˙˙
œœ ™™
œœ
œœ
Œ
J
Figure 4.5 Melodic double-stops and blues melodies in Liltin’ With Milton
41
Seaton ends the piece with an arco walk up on the Gm7 in the third measure to the
D7 in the fourth measure of Figure 4.5. He then bows a series of chromatic lower
neighbors that resolve to chord tones with a slur figure in measure five. He plays a
harmonic double-stop at the A and E positions on the D and G string which sounds like
an A and D an octave up. The harmonics ring out and Seaton ends with a low F on the E
string that he accents the attack then backs off, he then quickens his bow speed and
pressure to create a crescendo to the end of the note.
F7
œ œbœ œ œ œ
? b 4 œœ œœ œ œ œ œ œ œ œ œ bœ œ ‰ œ ‰ œ œ œ œ œ nœ
4
J J
5
œœo
n œ #œ œ œ
#
œ
?b ‰ J
nœ nœ nœ œ œ œ ‰ J Œ
œ bœ œ œ
œ
‰ J
U
w
sf
Figure 4.6 Ending statement in Liltin’ With Milton
Lynn Seaton combines his raw energy with a deep knowledge of traditional swing
and bebop and creates a compelling performance of boogie-woogie blues for the bass. He
uses a hooked bowing to create a personal sense of swing and improvises for 13 choruses
on the blues. It is a powerful example of an extended, unaccompanied arco bass solo.
Mark Dresser is a bassist that has incorporated free-jazz and contemporary
classical techniques in a bold new way. Starting with his time with Anthony Braxton,
Dresser has incorporated new techniques in his search for a new harmonic sound. His
work with the Arcado String Trio showcases his blending of pizzicato and arco
techniques in an ensemble comprised of other bowed instruments playing music that also
blends through-composed music and free group improvisation. His music is often
experimental, for example, the performer has mixed the arco bass with live electronics in
42
downtown, top corner (2000) from the album “Later”.116 Dresser recorded a series of solo
records and on his latest release “Guts” he improvises using his multiphonic
techniques.117 In the accompanying DVD and materials for his “Guts” album, Dresser
explains several of his techniques that he used while recording the CD, including
multiphonics, subharmonics, gravity bow drops, artificial harmonics, compound artificial
harmonics, falsetto flautando, and bitones.118 He also gives us a thorough explanation
about natural harmonics and their nodes and how to use them musically.
The track SOffial from Guts “is a lyric piece integrating multiphonic chords with
melodicism morphing into multiphonic gestures.”119 It is an improvised composition by
Mark Dresser and reveals several aspects of his modern style and approach to arco jazz
bass including extended bowing techniques and harmonics. Recorded in 2010 at the
University of California, San Diego. Dresser mentions that he recorded some tracks with
a five-string contrabass violin that the Music Department had bought in 2008 made by
luthier Hammond Ashley.120 Dresser mentions this instrument and the inspiring, newly
built concert hall at UC San Diego as the key motivating factors for this recording.
SOffial was recorded with this bass, as we can tell by the low D notes in the first phrase
of the piece.
0:00
0:07
?
#œ-. œ-. œ-. œ™ œj O
-. .
mp
œ œ O
j
œ œ
œ-. œ-. œ-. œ œ ™ œ bœ œ œ
-
Figure 5.1 Opening gestures in SOffial
116Dresser,
Mark. Later. Le Disques Victo, Victo CD 070. 2000.
Mark. Guts. Kadima Collective, KCR Triptyche 1. 2010.
118Dresser, Mark. Guts. Kadima Collective, KCR Triptyche 1. 2010.
119Ibid.
120Ibid.
117Dresser,
43
In the opening statement, Dresser repeatedly lands on an open E string, which is
accompanied by an array of overtones generated by the bow. Part of Dressers approach
can be summed up in his statement: “One note on the bass is not solely one pitch, but
rather a constellation of harmonic partials vibrating at different amplitudes.”121 Dresser’s
concept of tone utilizes the multitude of pitches that combine to create a single tone and
he can control the amount and range of the upper harmonics that we hear. The
multiphonic note is notated as a hollow diamond notehead with a stem. This technique of
arco multiphonics is generated by a light touch of a harmonic partial and a heavy but
slow bow stroke. From his accompanying materials:
Here are some key points in understanding how to produce arco
multiphonics:
•
The key technical components are bow resistance, left-hand
placement and bow location.
•
Bow resistance is a combination of pressure/weight, bow speed
and angle.
•
Bowing angles other than perpendicular to the string can help
promote multiphonics.122
Many of the notes in the first phrase are played with a light bow stroke to create a wispy,
breathy sound on the strings. This technique generates many upper overtones and
engages the upper harmonics more easily when utilizing multiphonics.
His use of slurred bowings creates a sliding and blending of notes as gestures
rather than discreet musical figures. Dramatic swells of volume on held multiphonic
notes create dynamic gestures as well.
121Ibid.
122Dresser,
Mark. Guts. Kadima Collective, KCR Triptyche 1. 2010.
44
0:18
? œ #œ œœ #œ nœ œ œ œ œ
~
j
bœ ™ œ ~
bœ œ ~
~
bœ œ ~
~
mf
mp
mf
p
Figure 5.2 Slurred bowings and arco multiphonics in SOffial
His use of arco multiphonic double-stops with increasing bow pressure is very
captivating and creates growing intensity at around 0:56 of the piece. He mentions in the
included DVD video that when playing multiphonics, the weight of the bow on the string
is what dictates volume, not bow speed as in other more traditional bowing techniques.
molto vib.
0:56
? œ
œ
O
O
OO
O
OO
O
OO
O
ff
œ
#~~
~
f
Figure 5.3 Arco multiphonic double-stops in SOffial
The performer utilizes multiple slides during the piece and which creates a nontonal landscape. At 1:08 he slides from an upper note to a unison D with the adjacent
open string, a follows it with an open A multiphonic note. The next gesture is again a
falling glissando, but this time it is a multiphonic note cluster created by depressing the
thumb in the upper register and lightly touching the partial at the major third above the
thumb, he adds bow resistance to make it multiphonic. The bow must move in proportion
to the glissando. 123
123Dresser,
Mark. Guts. Kadima Collective, KCR Triptyche 1. 2010.
45
1:18
# ~wo
1:08
? >˙˙
gliss.
gliss.
O
˙˙
~
mf
p
mp
pp
Figure 5.4 Arco Artificial Harmonic Multiphonic Glissandi in SOffial
The next musical idea in the improvisation is upper harmonic flutters of notes
created by repeated string-crossings of adjacent strings. This is a technique that Dresser
considers a “Preliminary Technique” and discusses in his introduction in the included
DVD. There is an exercise that he illustrates continuous string crossings on adjacent
strings. It is similar to a technique that he utilizes on the piece K-tude on the album.
o o o o o o o o o o
O œ O œ O œ O œ O œ O œ O œ O œ bOb œ bO œ œ œ œ œ nœ œ œ œ bœ œ œ œ œ œ œ œ
?
1:42
mf
Figure 5.5 Adjacent string crossings with harmonics in upper register in SOffial
At the end of the exciting string-crossing section, the improviser winds down to a
unison then creates a breathy, flute-like sound that Dressers calls falsetto flautando. This
sound is created by creating an artificial harmonic with the precise placement of the bow
on a harmonic node, and using a stroke with a quick attack and little bow pressure. It is
the only arco technique that creates transposable artificial harmonics at the octave.124 He
does this on a fingered A on the D string.
For the next passage is phrase of notes played with the bow drawn diagonally
across the string close to the bridge. This techniques creates a cascading sonic effect, a
124Dresser,
Mark. Guts. Kadima Collective, KCR Triptyche 1. 2010.
46
swirling of harmonics, it almost sounds like the guitar effect, the flanger.
2:22
draw bow diagonally
,
,
? é
#O O O O nO #O O #O O nO #O O #O #O #O nO #O #O nO #O ~
,
mp
Figure 5.6 Diagonal bowing multiphonics in SOffial
The ending showcases two extended bow techniques that create very unique
sounds. The first is the circular bowing technique. This technique in discussed in
Turetzky’s work and assimilated into Dressers improvisational vocabulary. At the very
end he concludes with a gravity bow drop at pppp.
3:26
3:10
3:03
?
~
-Circular bowing
~
~
- slow
œ œ œ
#~
Drop-bow tech
~
f
œ œ œ œ œ œ œ™ œ
>
pp
pppp
Figure 5.7 Circular Bowing and Gravity Bow Drops in SOffial
Several new bassists are making important music in regards to arco bass. John
Goldsby has a series of recordings incorporating arco into the music. Avishai Cohen uses
it sparingly in some compositions of his such as, Umray, Seven Seas, and Ahlma
Sleeping. An improviser by the name of William Parker is doing new things with the bow
as well as Eric Revis.
Another experimental bassist who collaborated with musicians outside the usual
jazz idiom is Edgar Meyer. He has collaborated with artists such as Bela Fleck, Mark
47
O’Connor, Yo Yo Ma, and Christian McBride. His music blends bluegrass, jazz, and
classical elements and his bowing style is a conglomeration of those features.
Meyer’s first record as a bandleader from MCA, “Unfolding”, is an experimental
record for the time. The instrumentation includes bass, banjo, fiddle, mandolin, and
dobro, which are traditional bluegrass instruments, however the approach is very
improvisational and harmonically similar to jazz. This blend of bluegrass and jazz is a
signature of Meyer’s style. Meyer has great facility and can execute virtuosic bowings
with great control. The piece is at 120 beats per minute so 16th-note runs are impressive at
such a high speed.
In this example Meyer begins his solo with a melodic statement that consists of
separate single-note scalar movements with occasional three-note slurs. The slurs occur
on weak beats, usually on the second eighth-note of a beat. In the second statement, he
shifts the entrance of the phrase, which shifts the bowings, but retains the weak beat slur
entrances.
3:18
œœ
E‹7
œ
œ
? ## 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
4
&
œœœœœœœœœœœ œ
A
3
#
&#œ Œ ‰
œœœœœœ œœœœ
œœœœ ˙
œœœœœœœœ
Ó
Figure 6.1 Groups of separate and three-note slur bowings in Unfolding
Although it is not technically “swung”, the feel of the line is loping like a jazz
line, with emphasis on syncopated beats. The bowing pattern is similar to one that is
offered in Chris Haigh’s Exploring Jazz Violin. The author suggests that separate bows
48
and groups of two can seem ”lumpy”, and interweaving single, two note, and three note
bowings can help the music feel smoother.
Meyer develops the melodic motive and adds triplet figures adding to the
intensity. Meyer’s bow control is impressive and his quick interjections of triplets
illustrate his improvisational facility. Meyer takes a single idea and develops it during the
course of the solo.
B7
C
D7
3
3
? ## 4 œ œ
4
3
&
œœ
œœ
œ œ œ œ nœ œ œ œ œ
E‹7
3
#
&#
˙
C
œ
œœ œœ œœœœœœœœœœœœœœœœœ
D7
E‹
œœœœœœ œœœ Œ Œ
œ
Œ
œ
œ
œ
œ
œœœœ œœ œœœ
Œ
Figure 6.2 Triplet figures develop the original melodic statement in Unfolding
Meyer then balances the quick, 16th note passages and incorporates slides moving
from chord tones in an evocative, bluesy way. These slides are a recurring feature in
Meyer’s improvisations, listen to his version of Solar with Bela Fleck from Music For
Two.
#4œ
& #4
4
F
#
&#w
C
B7
œ
œ #œ
A7
œ~~~~~~~ œ nœ œ œ ˙
E‹
Ó™
F©7
œ bœ œ œ ˙
F
ŠϪ
J
B7
E‹
œ
˙
Œ
w
Figure 6.3 Meyer’s use of slides in Unfolding
Meyer incorporates bluesy, slurred flourishes in the upper register. He
accomplishes this with slurs over a moveable thumb position that slides chromatically up
49
the neck. The moveable thumb technique is useful for slurred groupings as it can be
transposed easily.
F
E‹
nœ bœ œ b œ œ bœ
b
œ
n
œ
b
œ
œ
b
œ
œ œJ bœ nœ bœ #œJ nœ œ bœ J œ œ J
‰ œ #œ œ J œ œ J
3
#4
& #4 Œ
3
3
3
3
3
3
3
F©7
## # ˙ ™
&
œ œ œ n œ #œ
nB7˙
Ó
3
Figure 6.4 Slurred, four note groupings in Unfolding
Bassists throughout the years use the bow in accompanimental, melodic, and
soloistic applications. From early New Orleans blues numbers, to extended
unaccompanied bass solos, the bow has opened up a multitude of tonal possibilities for
the contemporary jazz bassist to utilize.
What are often repeated performance devices found in current arco jazz bassist’s
presentations?
According to the sample, a few reoccurring performance contexts emerged as
common instances where arco bass was found in the jazz ensemble. The performance
contexts were accompanimental, melodic, and soloistic. More specifically, they include:
blues accompaniment and melody; ballad accompaniment and melody; medium to uptempo melodies and solos; and freely improvised solos, introductions, interludes, and
outros, sometimes unaccompanied.
50
Blues accompaniment and melody
Several performances found on the Selected Discography feature the arco bass
playing blues accompaniment and sometimes the blues melody during the performance.
Most of the early New Orleans bass players mentioned have been recorded
accompanying blues numbers with the bow. It is mixed between half-note and quarternote bass lines, depending on the feel of the composition. Sometimes it is two-beat such
as in The Blues I Love To Sing or four-beat like in Bowin’ The Blues.
Legato bass melodies are also commonly played by bass players in regards to the bow.
For example, Blues For Jimmy in the figure below. The melody is slow and doesn’t
Blues for Jimmy
encompass a wide range, but is in a register that sings and is unique to the double
bass.
Kid Ory
B¨7
? bb 4 œ œ nœ ™™ ˙
4
œ œ œ
œ œ œ œ
˙
˙
E¨7
5
œ œ
˙
B¨7
œ
œ bœ
œ œ œ œ
œ
œ
?b˙
b
˙
œ
˙
F7
9
˙
? bb
˙
˙
B¨7
˙
œ
œ œ
œ œ œ
˙
fine
˙
œ.
œ œ œ œ nœ œ ™™
Figure 7.1 Arco melody in Blues For Jimmy
Christian McBride also recorded an unaccompanied blues feature, the Oscar
Peterson classic Night Train. It features a mix of pizzicato and arco sections and utilizes
extended techniques such as col legno.
Ballad melody and accompaniment
51
The bow has commonly been used to create long held, legato bass note
accompaniment in ballads and tunes at moderate tempos. Usually playing half or whole
notes following the bass notes of the harmony. From early New Orleans music to modern
jazz, bassists have used this device to create somber, dirge-like accompaniments for slow
or medium tempos. The bass can blend with wind instruments and create cross-sectional
blending in larger group contexts. The bassist will sometimes switch between pizzicato
and arco techniques. The bass will also play the melody to a ballad or American standard
with the bow in a compelling way.
Moderate and up-tempo melody and solo
In regard to faster tempos, the arco bass is commonly found playing melodies and
improvised solos but rarely will fill an accompanimental role at these speeds. Some
players have adapted bebop melodies like Donna Lee (see Michael Moore “Michael
Moore Trio”, 2000) and played American songbook standards on the arco double bass
(What Is This Thing Called Love, with Red Garland, 1956). Generally played in the
middle to upper register, these melodies showcase the fluidity of the bow while proper
phrasing and control with the bow is necessary.
The vocabulary of bowing consists mainly of one to three note slur groupings,
scalar and arpeggiated figures, upper and lower neighbor enclosures, and occasional
tremolos and slides. As we can see in this transposed example, McBride uses a similar
lick over ii-V7 progressions within a single bar. It utilizes upper and lower neighbor slurs
and encloses the third of the G7 chord. This is a lick that McBride consistently returned
to in his improvisation.
52
D‹7
G7
œ
°? 4 bœ
4J
?4 ‰
4
nœ
œ
nœ
Œ
G7
D‹7
bœ
J
œ
œ
œ
œ
‰
Œ
D‹7
G7
œ
œ
? 4 bœ
4J
œ
œ
œ
œ
œ
œ
Œ
G7
D‹7
œ
œ
? 4 bœ
¢ 4J
œ
œ
œ
œ
Œ
Figure 7.2 One bar ii-V7 vocabulary in Jayne
McBride uses vocabulary in his solo over two-bar ii-V7 harmonic phrases that fit
into four different types of melodic information. The first, “A”, is a descending chromatic
enclosure that utilizes upper and lower neighbors. This first lick is from measure 19 and
20 of the original transcription as seen in the Appendix. The second pattern is the use of
the flatted ninth, fifth, and sixth scale degrees to create a G7 altered sound. The third
pattern, “C”, is the introduction of triplets to the melodic vocabulary. He utilizes various
types of harmonic vocabulary within the triplets but the rhythm doesn’t occur until later
into the solo, so it may be intentional. The fourth patter, “D”, is a simpler enclosure that
is primarily diatonic.
D‹7
G‹7
# œ n œ b œ œ bœ n œ nœ bœ bœ œ
J
Œ
A
D‹7
œ œ œ œ b G7½
œ bœ œ
œ
œ œ
œ
œ
œ bœ
?
‰ J
B
D‹7
œ œ œ œ bœ œ œ b œ b œ œ G7œ
?
œ nœ bœ 3 œ œ
C
œ œ
œ
3
3
D‹7
G7 3
œ bœ nœ œ œ
œ
? œ œ œ œ œ œ ‰ œJ
D
J ‰
¢
Ϫ
°?
Figure 7.3 Two bar ii-V7 vocabulary in Jayne
53
McBride packs a lot into his improvised solo but it is anchored with a few types
of turnarounds and open-chord melodic devices. McBride utilizes common bebop
language with a modern approach to altered dominants and diminished scales and
arpeggios embedded in dominant harmonies. Below is a sample of those ii V7 licks that
he utilized in his performance. The complete sample is in the Appendix.
5
G‹7
C7
œ œ œ œ
9
A. Bass
œ œ bœ œ
°? œ œ œ œ
b
œ œ
bœ œ œ
3
G‹7
C7
A. Bass
bœ œ
? b œ œ œ œ b œ œ œœ œœ
A. Bass
?b œ œ œ
nnœœ œœ
G‹7
œœ œœ
œœ œœ
œœ
œœ
C7
nœ
œ
bœ
œ œ
œœ
œC7 œ œ œ œ œ œ
œœ
G‹7
œ œ bœ œ
A. Bass
œ nœ
? b œ bœ
A. Bass
G‹7 œ
œ nœ
?b œ
œ bœ
œ
œ
œ œ
C7
œ œ œ
œ
J
œ
œ
‰
C7
FigureG‹7
œ inœ Liltin’
œ œ vocabulary
œ7.4 Two barœ nii-V7
œ With Milton
œ
œ
œ nœ
A. Bass
bœ
œ
?b
‰
‰
œ bœ nœ bœ nœ
nœ œ
FreelyG‹7
improvised
œ œ bœ œ œopen sections
C7
j
œ
?
œ
A. Bass
b
bœ
&
ùœ™
3 arco bass
3
3
3suited to create free improvisations. Its tonal and
The
is especially
n œ œ b œ œ b œ œ C7
œ
3
3
œ
n
œ
b
œ
bœ nœ bœ
œ
œ
?
œ
timbral
malleability
can
create
emotional
and
evocative
n
œ
b
œ
b
œ
A. Bass
b
&
œ sound-scapes.
bœ œ nœ bœ ? These can be tonal
G‹7
3
or
G‹7
non-tonal,
3
3
3
3
C7
and
have metered or free
be accompanied or unaccompanied. A
œ # rhythm,
œ nœ
3
œ nœ nœ œ nœ bœ n œ b œ n œ
?
œo ‰ œo
œo œ
A. Bass
b
& œ bœ nœ ‰ J
J
notable performance
is Miroslav
Vitous
on the piece Transformation. It is an
3
3
3
3
G‹7
C7
œ
œ œ œ œ nœ œ
œarcoœ andœ pizzicato
nœ bœ elements,
unaccompanied
bass
solo
that
has
free
time,
œ
œ various bowing
?
A. Bass
b
techniques,
and a wide range of musical devices.
Vitous’œ bowœ tone
and
G‹7
C7
œ is focused
œ
œ
n
œ
œ
œ
œ
œ
œ
? œ œ œ œ
A. Bass
b
&nœ
3
œ œ b œ œ b œ œ C7
bœ œ
œ
3
3
œ
n
œ
b
œ
œ
œ
?
?
œ
nœ
nœ bœ bœ œ bœ œ
A. Bass
&
¢ b 3
n
œ
b
œ
3
3
3
G‹7
3
54
controlled possibly due to conservatory training. It is truly a convincing use of arco in
unaccompanied bass solo. Dave Holland recorded with the bow on his album “Emerald
Tears” for the track Combination. It is a solo piece with pizz and arco techniques and
Holland’s tone is bel canto with vibrato. The vocabulary is chromatic and non-tonal.
Mark Dresser is another artist who frequently will create free improvisations with the
bow, many of his recordings contain freely improvised arco bass solos as we discussed
with SOffial.
CHAPTER FIVE: CONCLUSIONS
What teaching or learning sequence would be beneficial to students in acquiring
jazz bowing techniques?
Through comparing the practices of current professional jazz bassists with the
common pedagogical approaches to double bass we can begin to move towards pedagogy
specific to arco jazz bass. Various methods explain the same techniques in differing ways
but there are common ideas that can be helpful to the beginning bow stylist. The main
factors are bow control, bowing technique, and musical style. Control consists of the
skills and tools required to properly control the bow while it is drawn upon the string to
create various sounds and timbers. This includes the bow hold, positioning or “contact
point”, speed, weight, balance, angle, and bodily tension which can inhibit the bow
stroke. Technique involves ideas about tone and musical applications with the bow
including scales, articulations, and slurs. Style pertains to ideas about swing, feel,
repertoire, extended techniques, and musical vocabulary for the various contexts in which
the arco jazz bassist may find himself. These ideas will be discussed below. Also
included in the appendix, I have composed three etudes highlighting the main ideas I
present here. The first is an arrangement of C Jam Blues, the second an etude utilizing the
bowing pattern of Lynn Seaton’s Liltin’ With Milton, and lastly an arrangement of
Moonlight In Vermont inspired by Jimmy Blanton. This is not meant to be a complete
method, rather a synthesis of ideas used towards a more comprehensive pedagogy for
arco jazz bass.
55
56
Control
The arco technique is a complicated process and bow control is essential to
producing a pleasing sound on the upright bass. Whether you choose the French or
German style bow is a matter of personal preference, as many great bassists have
illustrated compelling performances on both. The hold must not be too tight or too loose
so that the fingers can move and be engaged. Many methods include pictures of bassists
using correct posture and hand positioning and should be used as a reference. Eduard
Nanny’s introduction in his Methode Complete, is a great starting point for the bass
player who is starting from the very basics.125 It explains how to stand and hold the bass
as well as the basic bow hold. It is also necessary for the instructor to help the student
find a comfortable hold that is strong but flexible, every hand and student is different.
The positioning of the bow on the string relative to the bridge and fingerboard is
an important factor in tone production. Playing closer to the bridge (ponticello) activates
higher harmonics and the fundamental begins to fade, while playing closer to or on top of
the fingerboard (sul tasto) is a warmer, fundamental, flute-like timbre. The bow position
should move relative to the position of the left hand to achieve a consistent tone while
playing up the neck. As the left hand moves up or down, so too must the contact point of
the bow. Bert Turetzky directly addresses this technique in The Contemporary
Contrabass.126 He provides examples of contemporary music that requires the player to
play with various contact points but this could be adapted for the beginning student to
acquire control over this aspect.
125 Nanny
126 Turetzky
57
The speed of the bow stroke influences how focused the tone is. If the bow is
placed close to the bridge and drawn quickly, the tone is harsh and unfocused and does
not engage the fundamental vibration of the string. If the bow speed is slowed down then
the tone becomes more focused and controlled. Bow speed is an important factor that
many bassists work on for their whole career.
Weight is another important factor as it influences the depth of the vibration of the
string. Having a very light bow pressure and a fast stroke create an airy, wispy sound,
while a heavy, slow bow stroke can create dark, multiphonic tones. Heavy bow pressure
close to the bridge can create similar multiphonic sounds or can create strong, declarative
fundamental sounds depending on the bow speed. A full, bel-canto sound can be
achieved by placing the bow about 2 ½ inches from the bridge and drawing with
moderately heavy bow pressure and moderate speed. Experimenting with the three
fundamental control factors: positioning, speed, and weight, is important to developing an
expressive and desirable sound.
Other bow control issues are the angle of the bow and the balance of the bow.
Zimmerman has many helpful exercises in his A Contemporary Concept of Bowing
Technique for acquiring skill in balancing and adjusting the angle of the bow. The bow
must feel free in the hand so that agile articulations can be made, though it is important to
retain control of the stick. Other tension areas in the body and specifically the hand can
contribute to a poor sound.
In the arrangement of C Jam Blues that I composed, I purposely left out bowing
and articulation markings so that the same musical material can be played with a
multitude of bowing techniques. The top line, which is the melody, should be played in a
58
variety of ways isolating the aspects of bow control discussed above. For example it can
be played with light to heavy bow pressure, sul tasto or sul ponticello, short and long
bows with harsh or soft attack, also fast or slow bows. The different aspects can be
combined and experimented with so that the student understands the different musical
reactions of the different techniques and begins to develop expression within the simple
musical phrase. The second line, the bass line, can be approached in similar ways. Try
playing it in a legato, connected manner then play it in a more disconnected, detaché
style. Try mixing the techniques in different parts of the arrangement like on C7 chords
play disconnected bowings and on other chords play it legato. You will be surprised at
the musicality of such a simple concept!
The third and fourth lines of the arrangement are guide tone lines that harmonize
the melody and bass line. They consist of moving 3rd and 7th note whole notes. These
notes can be played in a variety of ways ranging from soft, wispy sounds with light bow
pressure to heavy bow strokes close to the bridge. The rhythm can also be manipulated to
create a dynamic accompanying line. Experiment and improvise with the guide tones and
the harmony will be very clear in your performance.
The arrangement can be performed in many ways and is open for interpretation. If
there are not four players available, a student and teacher duo can play through the
different sections as each harmonizes the other. Players can choose which part to play
and the arrangement is up to the performing group.
59
Technique
Technique utilizes the nut-and-bolts technical considerations of bow control and
applies them to more musical demonstrations. The tone of the double bass is infinitely
variable and the bassist must control and demonstrate these timbral differences in order to
create compelling music. The bassist must be able to produce the various tones on all
strings of the bass in all registers. Long tones can be a helpful exercise to explore various
types of strokes, notice the differences in bow speed the closer or farther way to the
bridge it is. Learning to produce a consistent tone using each portion of the bow is
important. A useful exercise is to play tones starting on various portions of the bow such
as the frog, middle, and tip.
Scales are a common device used in many methods to demonstrate the various
ways of executing the same musical passage. Students can play diatonic scales as single
notes utilizing various articulations and bow control attributes. Scales should be played
in all keys and can be played in seconds, thirds, fourths and so on in limitless
permutations. They can familiarize the student with different modes and scales that they
may encounter in repertoire. Arpeggios are another useful device with endless
permutations that can familiarize the student with the fingerboard while reinforcing
practical sound production. Many jazz bass methods include bowing exercises based on
scales and arpeggios. Although they can become tedious they are important in developing
a fluid bow stroke that can produce a diverse set of sounds.
Slurs are a very common technique as they can be found in virtually all arco jazz
bass performances. Various groupings of connected bowings can create a legato, fluid
line that sounds far better than streams of disconnected single bowings. Practicing scales
60
and arpeggios with various slur patterns is an effective way to develop fluidity and
connected phrasing.
The etude Milt’s Lilt was based on the repeating hooked bowing pattern that Lynn
Seaton uses in Liltin’ With Milton. This repeating bowing pattern creates a propulsive
rhythm and a unique rhythmic ostinato for the bass. It can be played at pitch, or for the
more advanced student, an octave above in thumb position. Like with the etude on C Jam
Blues the student should experiment with various techniques and styles of bowing. Try
breaking up the slurs in musical ways and changing articulations.
Style
Style is the contextual application of bowing techniques in cultural repertoire. The
two categories mentioned before are building blocks that apply to various “real-world”
arco jazz bass performances. The basis of style is a repertoire specific to a certain cultural
group or genre. In the case of this study, that is jazz. The jazz repertoire includes
melodies and transcribed improvised solos of American songbook standards, swing,
bebop, and modern jazz originals. Students recreate performances on record and create
original compositions and arrangements while attempting to assimilate the musical
vocabulary through listening, analytical study, and trial and error. Experts of the style
critic students on their performances and help them better understand concepts and skills.
Repertoire is limited to the access of the student through teachers, books, online
resources and other cultural access points. Teachers can guide student to important
demonstrations and students create their own culture of what is important. When learning
jazz repertoire, learning by ear and listening to experts is tremendously helpful in
61
acquiring improvisational skills. When learning culturally contextualized repertoires
specific technical skills are required and live examples are sometimes the most effective
teaching tool. For example, in jazz, the eighth-note swing is a nuanced feel that is
difficult to notate, thus an expert is necessary to assess the quality of execution.
Harmonic vocabulary is particularly important in differentiating styles. Using the
correct harmonic language is important to cultivating an authentic style. Various
harmonic devices have developed in the compositional and improvisational vocabularies
through the evolution of jazz. The stylistic periods of jazz all have harmonic
idiosyncrasies that manifest the style. It is up to the student and teacher to decide what
style the student wishes to cultivate, while a basic understanding of many styles can be
beneficial to the contemporary bassist.
Extended techniques may be stylistically specific and require the performer to
acquire new skills in order to execute the music effectively. Often time new composers
will have interviews with instrumentalists to inquire about technical limitations and
develop new techniques that the performer must practice before the premier performance.
My etude on Moonlight In Vermont is inspired by Jimmy Blanton and is an
attempt to arrange an American ballad in a style similar to his. The introduction is
influenced by harmonic techniques used by Mark Dresser and the E string is tuned to an
Eb. The etude presents the melody with embellishments that utilizes a wide range of the
instrument. Vocabulary that was common for the period is used such as diminished
arpeggios and scales, chromatic enclosures, and long slurred groupings. It is important to
listen to recordings of Jimmy Blanton play and then attempt to recreate the pieces that he
performed. Then learning to compose in the style of an inspiring artist is the final step in
62
assimilating their personal style. The bowings and articulations are more important here
and should be performed accordingly.
CHAPTER SIX: DISCUSSION
Jazz bass bowing is a deep tradition that has evolved to a high level of
performance. Performers use the bow as well as plucking with their fingers to create
impressive and expressive bass melodies. Beginning in New Orleans with early jazz,
bassists approached jazz and ragtime originally with the bow and later developed the slap
pizzicato technique that is used today. Not until the beginning of the 20th century did
pizzicato take over as the main technique for sound production in jazz. Although it fell
somewhat out of favor, bassists continued to utilize the bow and further the tradition.
Bassists began to play melodies and intricate accompaniments with the bow. Swing era
bassists would use the bow to play melodies, solos, and only occasionally
accompaniment. Bebop bassists continued and would play facile improvised solos and
quick bebop melodies with the bow. By the 1960s and ‘70s bassists began to expand the
context in which the bow was found, such as Latin-inspired music, funk, fusion, openfree improvisations, world music, and other improvised styles.
Even though it has been around for thousands of years and its rich tradition in
jazz, some beginning jazz students don’t feel comfortable with the bow and do not see a
need to develop jazz bass bowing skills. Many great bass performers have recorded with
the bow and it is an important aspect of contemporary bass playing that should not be
overlooked. The bow can open a multitude of sonic possibilities for the improvising
bassist.
There are some bass methods that address the bow, mostly in the classical bass
tradition. Some jazz bass methods address the bow but in very loose terms. The purpose
63
64
of this project was to investigate the origins, evolutions, and current practices of arco jazz
bass performance and how that influences the pedagogy for this technique. Many jazz
bass methods begin with modern jazz but this project has shown that arco jazz bass
doesn’t just start with Slam Stewart or Jimmy Blanton; jazz bassists have been using the
bow since the beginnings of jazz. It would behoove the contemporary bassist to realize
this and incorporate the bow in their style.
Playing with the bow is not easy and proper instruction is essential so the student
does not create bad habits and be more expressive with the bow. Bow control is very
important to develop in order to execute the various articulations and bowings that the
improviser may need. Good tone and facile technique are goals for the student and
through the practice of scales and arpeggios with various bowing permutations can the
student develop a sound and skill. Imitating landmark performances on the arco bass is
another way to gain shill. Lastly, developing a style with the bow is important to
authentically perform in appropriate musical contexts. Swing feel, vocabulary, and
extended techniques can dictate the style and show influence.
Implications for jazz scholarship
The bow is an important tool for the contemporary student and skills should be
developed. Jazz teachers should better understand the historical relevance of the bow in
the jazz ensemble and encourage its use in the classroom. Even though the bow isn’t
played through the majority of a jazz performance, professional saxophone performers
are expected to be comfortable playing and improvising on the various saxophones and
wind instruments, so too should the modern bassist be able to accompany and play
65
melodies with the bow in a stylistically appropriate way. Various methods exist to help
gain skill with the bow and those resources should be available to the student. Teachers
should familiarize themselves with these skills to help guide the student.
Suggestions for further research
A larger more complete discography is a goal, though it would take an immense
amount of time and research to compile a complete discography of arco jazz bass
performances on record. Further research on any one of these fine artists would be worth
while. Although this study aims to be thorough in it’s analysis, due to its scope we cannot
go in depth with each individual artist. All of the bassists here have wide catalogues of
examples of bowed bass on record.
REFERENCES
Applebaum, Larry. "Before & After: John Clayton." Lets Cool One. April 14, 2011.
Accessed November 19, 2015.
https://larryappelbaum.wordpress.com/2011/04/14/before-after-johnclayton/#more-1188.
Brun, Paul. “A New History of the Double Bass.” In American String Teacher, February
2001, translated by Lynn Morrel and Paul Brun, 66-70. Fairfax, VA: American
String Teachers Association, 2001.
Bryars, Gavin. "Slam Stewart and Other Bowed Bassists." Slam Stewart and Other
Bowed Bassists. November 29, 2009. Accessed November 19, 2015.
http://www.gavinbryars.com/work/writing/occasional-writings/slam-stewart-andother-bowed-bassists.
Campbell, Jeffrey R. "Two Profiles in the Development of Jazz Bass Playing: A Study of
Jimmy Blanton and Ron Carter." The University of Rochester, Eastman School of
Music, 2002.
Carter, Ron. Ron Carter Comprehensive Bass Method. New York: Charles Hansen Music
and Books, Inc., 1977.
Chambers, Paul, and Jim Stinnett. Arcology: the music of Paul Chambers, volume II.
[Place of publication not identified]: Stinnett Music, 1999.
Crawford, Tim. 2009. "Solo Bassists from the Start! The Application of Contemporary
Bass Pedagogy Concepts to Beginning String Class Instruction.". American String
Teacher 59, no. 3: 40-43,
Denson, Jeffrey Charles. 2010. "Melodic and Chordal Applications for Harmonics on the
Double Bass: A Study of Techniques, Chords, and Composition." University of
California, San Diego.
Elgar, Raymond. Introduction to the Double Bass. 1960.
Findeisen, Theodore A., and Lunsford Morris Corzine. Complete Method for String Bass;
The Modern Scientific Method for Rapid, Advanced Position, Bow and Finger
Techniques. New York: Baron, 1947.
Fine, Eric. "Jazz Departments: Ari Roland: Arco Art - By Eric Fine - Jazz Articles." Jazz
Departments: Ari Roland: Arco Art - By Eric Fine - Jazz Articles. 2008. Accessed
November 19, 2015. http://jazztimes.com/articles/18486-ari-roland-arco-art.
Goldsby, John. Bowing Techniques for the Improvising Bassist: A New Approach to
Playing Arco Jazz. New Albany, IN: Jamey Aebersold Jazz, 1990.
66
67
Goldsby, John. Bow techniques for jazz bass. Strad, June 2009.
Hanna-Weir, Scot. "Developing a Personal Pedagogy of Conducting." Order No.
3590622, University of Maryland, College Park, 2013.
Hardie, Daniel. Exploring Early Jazz: The Origins and Evolution of the New Orleans
Style. San Jose: Writers Club Press, 2002.
Hartman, Mark L. 1997. "Jazz and the String Quartet: Arrangement and Performance in
the Music of the Turtle Island String Quartet." The University of North Carolina
at Greensboro.
Heath, Jason. "Rabbath versus Simandl – a Comparative Study - Jason Heath's Double
Bass Blog." Jason Heaths Double Bass Blog. November 26, 2006. Accessed
November 19, 2015. http://doublebassblog.org/2006/11/rabbath-versus-simandlcomparative.html.
Jarvis, Willis Michael. 2011. "Israel Lopez "Cachao": The Godfather of Cuban Bass the
History and Development of the Bass in Cuban Popular Music."
Karr, Gary. The Gary Karr doublebass book. Oakdale, CA: Amati Productions, 1996
Kernfeld, Barry. The New Grove Dictionary of Jazz. London: Macmillan, 1994.
Kurtz, Alan. "Welcome to Jazz.com." How Bass Solos Ruined Jazz – Jazz.com. May 19,
2008. Accessed November 19, 2015. http://www.jazz.com/jazzblog/2008/5/19/how-bass-solos-ruined-jazz.
Lawson, Sonya Ruth. 2003. "The Origins and Development of the use of Violins, Violas,
and Cellos in Jazz in the United States of America." University of Oregon.
Meyer, Dan. “New Orleans String Bass Pioneers,” Wavelength, December, 1990.
Nash, Robert. 1999. "The Solo Vocabulary of Jazz Bassist Jimmie Blanton." Louisiana
State University and Agricultural & Mechanical College.
Olmstead, Kyle. "Kyle Olmstead | Educator: About The Bass." Kyle Olmstead |
Educator: About The Bass. 2012. Accessed November 19, 2015.
http://www.kyleolmstead.com/educator/aboutthebass/doublebasstechnique.html.
"Peter Paulsen Interview." Peter Paulsen Interview. 2015. Accessed November 19, 2015.
http://www.bassthings.com/Interviews/Peter-Paulsen/.
68
Provizer, Steve. "Brilliant Corners: "Bass Bow-Masters"" Brilliant Corners: "Bass BowMasters" September 22, 2011. Accessed November 19, 2015.
http://brilliantcornersabostonjazzblog.blogspot.com/2011/09/bass-bowmasters.html.
Rabbath, François. Nouvelle technique de la contrebasse: méthode complète et
progressive = A new technique for the double bass : a comprehensive tutor. Paris:
A. Leduc, 1977.
Reid, Rufus. The Evolving Bassist: A Comprehensive Method in Developing a Total
Musical Concept for the Aspiring Jazz Bass Player. Teaneck, N.J.: Myriad, 2000.
Robinson-Martin, Trineice. "Developing a Pedagogy for Gospel Singing: Understanding
the Cultural Aesthetics and Performance Components of a Vocal Performance in
Gospel Music." Teachers College, Columbia University, 2010.
Sadie, Stanley. The New Grove Dictionary of Musical Instruments. London: Macmillan
Press, 1984.
Sadie, Stanley, and George Grove. The New Grove Dictionary of Music and Musicians.
London: Macmillan Press, 1980.
Schuller, Gunther. The Swing Era: The Development of Jazz, 1930-1945. New York:
Oxford University Press, 1989.
Siemers, Brian John. 2001. "The History and Development of the Double Bass."
University of Cincinnati.
Simandl, Franz, and Frederick Zimmermann. New Method for the Double Bass: English
and German. New York: C. Fischer, 1964.
Stinnett, Jim, and Paul Chambers. The Music of Paul Chambers. Place of publication not
identified: Stinnett Music, 1984.
Stoddard, Tom. Pops Foster: The Autobiography of a New Orleans Jazzman as told to
Tom Stoddard. Berkley: University of California Press,
Stoops, Anthony. 2011. "Double Bassics: Teaching Double Bass for the Non-Bass
Teacher.". American String Teacher 61, no. 3: 30-34.
Swaim, Daniel. 1999. “Guidelines for Teaching Beginning Bassists.” American String
Teacher 49 (2).
Taylor, Michael E. 2002. "James Blanton, Raymond Brown, and Charles Mingus: A
Study of the Development of the Double Bass in Modern Jazz." University of
Pittsburgh.
69
Tirro, Frank. Jazz: A History. New York: Norton, 1977.
Turetzky, Bertram. Introduction to The Autobiography of Pops Foster, Edited by Tom
Stoddard. Berkeley and Los Angeles: University of California Press, 1973.
Vance, George, Annette Costanzi, François Rabbath, and Elizabeth Azcona-Hartmark.
Progressive Repertoire for the Double Bass. New York, NY: C. Fischer, 2000.
Wasserman, Garry. 2012. "String Bass Lutherie in North America, A Compendium of
Makers and Examples, 1788--1970." The Ohio State.
Wilson, Miranda. 2012. "6 Ways for the Non-Bassist to Teach Double Bass." Strings, 06,
51-52.
Zimmerman, Oscar G. Elementary Double-Bass Method. New York: G. Schirmer, 1939.
Zimmermann, Frederick. A Contemporary Concept of Bowing Technique for the Double
Bass. New York: MCA Music Publishers, 1990.
DISCOGRAPHY
Arcado String Trio. Dresser, Mark. Arcado String Trio. Winter & Winter, 919 028-2.
1989.
Art Tatum Trio. Dark Eyes. Tulip Records, TLP 104. 1944.
Bechet, Sydney and Mezzro, Mez. Bowin’ The Blues. King Jazz, 141. 1945.
Burrell, Kenny. Bluesy Burrell. Moodsville, MV 29. 1963.
Byas, Don and Stewart, Slam. Town Hall Concert 1945. London Records, HMC 5003.
1945.
Cab Calloway and His Orchestra. Ebony Silhouette. Okeh, 6192. 1941.
Cachao, Israel Lopez. Cachao y Su Descarga ’77. Salsoul Records, Sal 4111. 1977.
Cachao, Israel Lopez. La Layenda Vol. 1. Kubaney, CD 392-2. 1995.
Carter, Ron. Piccolo. Milestone Records, M-55004. 1977.
Chambers, Paul. Bass On Top. Blue Note, BLP 1569. 1957.
Clark, Sonny. Cool Struttin’. Blue Note, BLP 1588. 1958.
Clayton-Hamilton Jazz Orchestra. Explosive! Qwest Records, 9 47286-2. 1999.
Clayton Brothers. Siblingity. Qwest Records, 9 47813-2. 2000.
Cohen, Avishai. From Darkness. Razdaz Recordz, RD4616. 2015.
Cohen, Avishai. Gently Disturbed. Razdaz recordz, SSC 4607. 2008.
Cohen, Avishai. Seven Seas. Blue Note, 509999495492 0. 2010.
Dave Holland Quintet. Prime Directive. ECM, 1698. 1999.
Dresser, Mark. Later. Le Disques Victo, Victo CD 070. 2000.
Dresser, Mark. Guts. Kadima Collective, KCR Triptyche 1. 2010.
Ellington, Duke. The Blues I Love To Sing. Victor, Vic 21490. 1927.
Ellington, Duke. Black Beauty/Jubilee Stomp. Victor, Vic 21580. 1928
Ellington, Duke. Body And Soul. Victor, Vic 27406.
70
Ellington, Duke. Sophisticated Lady. Victor, Vic 27221. 1940.
Hawkins, Coleman. Coleman Hawkins Alive! At The Village Gate. Verve, V6-8509.
1962.
Fleck, Bela. Meyer, Edgar. Music For Two. Sony Classical, SK92106. 2004.
Garcia-Fons, Renaud. Arcoluz. Enja Records. ENJ-9478 2. 2005.
Garland, Red. A Garland of Red. Prestige, PRLP 7064. 1956.
Goldsby, John. Space For The Bass. Bass Lion. 2009.
Goldsby, John. The Innkeeper’s Gun. Bass Lion, BLM 008. 2010.
Holland, Dave. Emerald Tears. ECM, ECM-1-1109. 1978.
Holley, Major. Excuse Me Ludwig. Black And Blue, 33.156. 1977.
Johnny Dodds Washboard Band. Bull Fiddle Blues/Blue Washboard Stomp. 45RPM.
Victor. 1928.
Jelly Roll Morton And His Hot Peppers. Grandpa’s Spells. Victor, Vic 20431. 1926.
Kenton, Stan. Artistry In Rhythm. Capitol Records, SM-167.
Kuhn, Paul. The L.A. Session. In+Out Records, IOR CD 77. 2013.
Ma, Yo-yo. Meyer, Edgar. O’Connor, Mark. Appalachian Journey. Sony Classical,
SK66782. 1996.
Ma, Yo-Yo. Duncan, Stuart. Meyer, Edgar. Thile, Chris. Goat Rodeo Sessions. Sony
Classical, 88697 84118 2. 2013.
Meyer, Edgar. Unfolding. MCA Records, MCAD-569. 1986.
McBride, Christian. Getting’ To It. Verve, 314 523 989-2. 1994.
McBride, Christian. Live At Tonic. Ropeadope Records. RCD16067. 2006.
McBride, Christian. Number Two Express. Verve, 314 529 585-2. 1995.
Mingus, Charles. Pithecanthropus Erectus. Atlantic, 1237. 1956.
Moore, Michael. History of Jazz Vol. 1. Arbors Records. 2000.
72
Morton, Jelly Roll. Black Bottom Stomp. 45RPM. Victor, Vic 20221. 1926.
Norvo, Red. The Red Norvo Story. Savoy, Sav SJL 2212. 1945.
Ory, Kid. Ory’s Creole Trombone. Nordskog, 3009. 1921/1922.
Parker, William. De Gustibus Non Est Disputandum. Leo Records, CD LR 697.
Revis, Eric. Crowded Solitudes. Clean Feed Records, CF363CD. 2016
Seaton, Lynn. Puttin’ On The Ritz. Nagel-Heyer. 2005.
Seaton, Lynn. Solo Flights. Omnitone. 2000.
Slim And Slam. Flat Fleet Floogie. Affinity, DC AFS 1034-3. 1938.
Slim And Slam. Lady Be Good. Affinity, DC AFS 1034-3. 1938.
Stewart, Slam. Bowin’ Singin’ Slam. Savoy, MG-12067. 1956.
Stewart, Slam and Holley, Major. Shut Yo’ Mouth. Delos, DE 1024. 1981.
Vitous, Miroslav. Miroslav. ECM, 1312. 1978.
Vitous, Miroslav. Emergence. ECM, 1312. 1986.
73
APPENDIX
Selected Discography of Arco Jazz Bass Performances
Name of
Artist
Leader/
Name of
Album Album
Recording Year Publisher Number Name
Notes
Johnson,
Bill
Black Bottom
Stomp
First half possibly arco due to lack of percussive
slap. Slap-pizz enters and is noticably different
attack. Very active bass line. Fast tempo.
Johnson,
Bill
Bull Fiddle
Blues/Blue
Washboard
Stomp
1928 Victor
Grandpa's
Spells
1926 Victor
Johnson,
Bill
Garland,
Ed
"Montudi"
Garland,
Ed
"Montudi"
Braud,
Wellman
Braud,
Wellman
Braud,
Wellman
Foster,
Pops
Stewart,
Slam
Stewart,
Slam
Stewart,
Slam
1926 Victor
Jelly Roll
Vic 20221 Morton
Johnny
Dodds
Washboard
Band
Jelly Roll
Morton &
Red Hot
Vic 20431 Peppers
Alternates between arco and slap-pizz.
Recording quality difficult to be precise but
slides and held notes indicate arco. Slap-pizz
break at 1:57. Arco very apparent on slow
blues.
Beginning with arco, adds slap pizz. Mod tempo.
Nordskog
3009
Kid Ory
Bass hard to hear throughout. Light attack and
lack of percussive slap suggests arco. Also, time
period suggests the style where bassists
commonly switched between techniques.
1944 Crescent
Crescent
2
Beginning with pizz blues bass line. Arco bass
solo playing melody in refined style with subtle
vibrato and good intonation. Varied articulation
and bowings. Pizz breaks after melody up to
high G harm, arco ending.
1927 Victor
Duke
Vic 21490 Ellington
Alternating between slap-pizz and arco. Warm
full sound, plays rhythmic arco accompanament
as well as long, full bass notes behind solos.
Black Beauty
1928 Victor
Duke
Vic 21580 Ellington
Introduction and accompaniment of melody
arco, then plays slap-pizz during rhythm and
solo breaks. Moderate tempo.
Jubilee
Stomp
1928 Victor
Bowin' The
Blues
1945 King Jazz
Ory's Creole
Trombone
Blues for
Jimmy
The Blues I
Love To Sing
1921/
1922 Nordskog
Kid Ory
Duke
Vic 21580 Ellington
Sidney
Bechet and
Mezz
141 Mezzro
Arco rhythm accom. Adds slap-pizz. Up tempo.
Arco blues accomp. Gutty sound, probably gut
strings.
Synchopated pizz accomp. until arco bass solo.
Repeated motifs, slurred phrases with swinging
eighth
note lines.
‎– Complete
Recordings 1938-1942
Flat Foot
Floogie
1938 Affinity
Slim & Slam
CD AFS 1034-3
Lady Be
Good
1938 Affinity
vocab. with
chromaticism.
Slim & Slam blusey
‎ Complete
–
Recordings
1938-1942
CD AFS 1034-3
Dark Eyes
Tulip
1944 Records
Stewart,
Slam
Slam Slam
Blues
Stewart,
Slam
Bowin'
Singin' Slam
1945 Savoy
1956 Savoy
Pizz accomp. Until arco bass solo. Bass solo,
TLP 104
Art Tatum
Trio
T 10/
The Modern
Comet 76 Red Norvo
Savoy
Savoy
Bowin'
Singin'
MG-12067 Slam
73
Pizz accomp. until arco bass solo. Use of
repeated notes, sequence, and slurred
groupings.
Arco melody with vocal humming above melody.
Pizz throughout solos. Improvised solo with
humming.
Pizz intro and rhythm. Playful solo with bluesy
articulations and licks. Slides and vocal
humming add to character.
74
Selected Discography of Arco Jazz Bass Performances
Stewart,
Slam
Blanton,
Jimmie
Blanton,
Jimmie
Body and
Soul
Mingus,
Charles
Prelude To A
Kiss
Mingus,
Charles
Sophisticated
Lady
Mood Indigo
Mingus,
Charles
A Foggy Day
Hinton, Milt
Ebony
Silhouette
Chambers,
Paul
What is This
Thing Called
Love
Chambers,
Paul
Chambers,
Paul
Pizz rhythm changes accomp at fast tempo.
Virtuosic
arco solo
with vocal
accomp.
Stewart,
Teddy
Wilson,
Flip Phillips ‎– Town Hall Concert
HMC 5003 Don Byas, Slam
1940 Victor
Duke
Vic 27221 Ellington
Arco melody with embellishments and
improvisations. Highly chromatic and displays of
vituosic technique. Middle section improvised
pizz.
1940 Victor
Duke
Vic 27406 Ellington
Sensative arco work. Beautiful treatment of
melody. Varied articulation and bowings. Long
phrases of slurred notes.
1950 Savoy
Sav SJL
2212
The Modern
Red Norvo
Savoy
Arco and pizz arrangment. Full sound, classical
influence. Slow tempo. Arco bass notes, plays
snippet of melody at end.
1950 Savoy
Sav SJL
2212
The Modern
Red Norvo
Savoy
Arco melody at top. Adds pizz and stays for
solos. Back to arco for melody out. Slow tempo.
1956 Atlantic
1941 Okeh
Pithecanthr
opus
1237 Erectus
Cab
Calloway
And His
6192 Orchestra
Free improv intro imitating sounds of New York
City. Starts with low, growling arco notes,
double stops, and notes on the other side of the
bridge. Pizz accomp and solo.
Classical-like approach using bow across range
of instrument. Alternates between arco and
pizz.
Starts with melody, begins to improvise in
1956 Prestige
Red Garland common bop vocabulary. Varied rhythms and
- A Garland articulations. Sound may be scratchy due to
close miking.
PRLP 7064 Of Red
Yesterdays
1957 Blue Note
Bass On
BLP 1569 Top
Slow tempo, dramatic, classically inspired intro.
Beautiful treatment of melody. Kicks in to mod
tempo. Solo is bebop vocab utilizing eighth
notes and various articulations.
The Theme
1957 Blue Note
Bass On
BLP 1569 Top
Arco melody, bridge and first solo.
Chambers,
Paul
Cool Struttin'
Holly,
Major
Joshua Fit
the Battle of
Jericho
Verve
1962 Records
Montono
Blues
1963 Moodsville
Willow Weep
For Me
Black And
1977 Blue
Holly,
Major
Holly,
Major
London
I Got Rhythm 1945 Records
1958 Blue Note
Sonny Clark
- Cool
BLP 1588 Struttin'
Coleman
Hawkins
Alive! at
Village Gate
V6-8509 1962
Kenny
Burrell Bluesy
Burrell
MV 29
Excuse Me
33.156 Ludwig
Masterful solo over 1 chorus, bebop vocabulary
executed with precision and style.
Pizz throughout most, arco bass solo with
signature singing at pitch. References the
melody then departs with bebop and blues
vocabulary.
Pizz on melody in. Takes first solo arco with
vocal unison. Blues vocab. Med tempo.
Arco with vocals intro and rubato treatment of
melody. Swinging and bluesy improvisation
around melody and solo.
75
Selected Discography of Arco Jazz Bass Performances
Holly,
Major
1981 Delos
DE 1024
Carter,
Ron
Sun Shower
Milestone
1977 Records
M-55004
Safranski,
Ed
Safranski
Capitol
1975 Records
SM-167
Miroslav
Vitous
Miroslav
Vitous
Cachao,
Israel
Lopez
Cachao,
Israel
Lopez
Holland,
Dave
Holland,
Dave
McBride,
Christian
McBride,
Christian
McBride,
Christian
McBride,
Christian
Misty
Bassamba
ECM
1978 Records
Transformati
on
ECM
1986 Records
La Bayamesa
Salsoul
1977 Records
Slam
Stewart &
Major
Holley Shut Yo'
Mouth
Piccolo
Stan
Kenton Artistry In
Rhythm
ECM 1312 Miroslav
Slam begins with arco melody and 8va singing.
Major responds improvising over bridge and last
A section while singing at pitch. Both alternate
between pizz accomp.
Piccolo bass performance with accompanying
double bass. Arco melody over full band
accomp. Lengthy improvised solo utilizing
simple phrasing and limited register. Use of
sequence and repeated phrases as well as
double stops.
Begins with soloistic arco intro, virtuosic pizz
solo with big band accomp.
Improvised arco melody over fast jazz samba,
overdubbed bass. Heavily electrified sound with
light bow in upper register. Varied rhythms with
streams of eighth notes and mostly in upper
register. Rhythmic ostinato ending
ECM 1312 Emergence
Cachao y
Su
Descarga
Sal 4111 '77
Overdubbed arco intro, melody, and
improvisation. Multiple bowed basses layered on
top of eachother.
La Leyenda
CD 392-2 Vol. 1
Masterful piece in the style of a melodic bass
feature with small group accomp. Uses the
entire range of the instrument and bel canto
tone.
Solo arco bass.
Canta
Contrabajo
1995 Kubaney
Combination
ECM
1978 Records
Candlelight
Vigil
ECM
1999 Records
Emerald
Tears
ECM-1-1109
Dave
Holland
Quintet Prime
ECM 1698 Directive
Night Train
Verve
1994 Records
Getting' To
It
314 523 989-2
Solo bass interpretation of bluesy classic.
Alternating between arco and pizz he also
utilizes extended techniques such as col legno
Verve
1995 Records
Number
Two
Express
314 529 585-2
Pizz throughout most of the tune until the arco
bass solo over "Out Of Nowhere" changes.
Modern bop vocabulary influenced by Chambers'
style.
Little
Sunflower
Verve
1995 Records
Number
Two
Express
314 529 585-2
Overdubbed arco bass choir harmonizing
melody. Bel canto sound with vibrato and good
intonation. Electric bass solo then arco melody
out.
Technicolor
Nightmare
Ropeadope
2006 Records
Live At
RCD16067 Tonic
Live cut with bowed bass intro. Modern, bluesy
improvisation into pizz bass ostinato.
Jayne
Solo piece with arco and pizz. Bel canto tone
and vibrato. Chromatic and non-tonal, possibly
improvised.
Sombre arco accomp. of contrapuntal melody.
Primarily long bass notes.
76
Selected Discography of Arco Jazz Bass Performances
Clayton,
John
Clayton,
John
Qwest
1999 Records
That Night
Qwest
2000 Records
Clayton,
John
Emily
In+Out
2013 Records
Moore,
Michael
Donna Lee
Arbors
2000 Records
Seaton,
Lynn
Seaton,
Lynn
Seaton,
Lynn
Meyer,
Edgar
Emily
Liltin' With
Milton
2000 Omnitone
ClaytonHamilton
Jazz
Orchestra 9 47286-2 Explosive!
Clayton
Brothers 9 47813-2 Siblingity
Paul Kuhn
and John
Clayton,
Jeff
Hamilton The L. A.
Session
IOR CD 77060-2
Michael
Moore and
his Trio
Beautiful rubato melody with bel canto, classical
sound in upper register. Pizz during saxophone
solo in new key. Arco bass melody second half
of tune on head out with improvised ending
utilizing harmonics.
Impressionistic, almost classical sonnata-esque
performance of original tune. Sensative
treatment of melody in upper register. Pizz
during solo, back to arco for head out.
Arco intro then pizz for melody accomp.
Improvised arco solo that references the melody
towards the end.
Arco head in unison with clarinet. Arco bass solo
first, melodic and lyrical style with nice full tone.
Solo Flights
Original composition alternating between pizz
and arco in the beginning, then solely arco until
the end. Improvisation on blues with bluesy and
modern bop vocabulary. Virtuosic display of
technique.
Trane's
Changes
2000 Omnitone
Solo Flights
Ambitious composition based on Coltrane's
famous chord structures. Blistering speed and
technique. Hard to discern pitch at times but
intent is displayed.
Indiana
2005 Nagel-Heyer
Puttin' On
the Ritz
Blistering tempo pizz throughout most until arco
solo.
MCAD-5694Unfolding
Pizz accomp in melody and solos until arco bass
solo. Use of repetition and sequence of single
motif. Single bows and slurs and 16th note
flutters. Sliding, bluesy figures. 16th note triplet
runs and single position trills.
Unfolding
MCA
1986 Records
Meyer,
Edgar
Butterfly's
Day Out
Sony
1996 Classical
Meyer,
Edgar
Solar
Sony
2004 Classical
Meyer,
Edgar
Quarter
Chicken Dark
Sony
2013 Classical
Pizz throughout beginning of tune, held G
harmonic in bridge. Understated solo intro, use
of double stops. Streams of eighth and
sixteenth notes using the entire compass of the
bass. Varied articulation. Solos behind out
melody.
Appalachian
SK 66782 Journey
Bela Fleck &
Edgar
Walking pizz intro and pizz throughout until arco
Meyer bass solo. Fast tempo. Bluesy phrasing, use of
Music For
sequence. Steady streams of eighth notes and
slides. Utilizes upper register.
SK 92106 Two
Yo-Yo Ma,
Stuart
Duncan,
Edgar
Meyer, Chris
Arco bass sets up the funky groove with
Thile - Goat mandolin. A section arco, B section pizz. Arco
Rodeo
solo with mandolin interacting with eachother.
Bluesy vocab, interesting rhythmic exchanges.
Sessions
88697 84118
2
77
Selected Discography of Arco Jazz Bass Performances
Dresser,
Mark
Dresser,
Mark
Dresser,
Mark
Renaud
GarciaFons
Winter &
1989 Winter
downtown,
top corner
Les Disques
Later
2000 Victo
VICTO cd 070
Free improvisation with guitar and electronics.
Non-tonal arco bass throughout using double
stops and slides. Primarily in the upper register.
SOfial
Kadima
2010 Collective
Guts
KCR Triptych
1
Improvised piece utilizing extended bowing
techniques. Natural and artificial harmonics as
well as double stops.
Enja
2005 Records
Renaud
Garcia-Fons
Trio ENJ-9478 2Arcoluz
Pizz bass line in 5/4 rhythm. Agile pizz solo
followed by guitar melody. Varying sections,
arco bass solo. High register with high C string.
Fast passages with use of trills and quick bow
work. Exotic scales and inflections.
Goldsby,
John
Blue Dahlia
Goldsby,
John
Never Come
Back To Me
2010 Bass Lion
Umray
Razdaz
2008 Recordz
Cohen,
Avishai
Gartman's
Berimbass
2009 Bass Lion
Arcado
919 028-2,String Trio
Pizz and arco techniques. Group improvisations
and composed passages utilizing extended
techniques and harmonics. Bass solo in the
middle utilizes harmonics and continuous string
crossing.
Space For
the Bass
The
Innkeeper's
BLM 008 Gun
Avishai
Cohen Trio Gently
SSC 4607 Disturbed
Cohen,
Avishai
Seven Seas
Cohen,
Avishai
Ahlma
Sleeping
William
Parker
De Gustibus
Non Est
Disputandum
50999949
5492 0
Seven Seas
Avishai
Cohen Trio Razdaz
From
Darkness
2015 Recordz
RD4616
Ivo
Perelman,
Matthew
Shipp,
CD LR
William
Parker
2014 Leo Records 697
Revis, Eric
Crowded
Solitudes
Clean Feed
2016 Records
2010 Blue Note
Crowded
CF363CD Solitudes
Arco accomp intro. Bass notes in lower register
with blues inflections. Sustained sound and
great intonationand tone. Pizz solo and accomp.
Final note arco.
Pizz accomp form beginning. Takes second solo
arco. Blues, bebop, and modern vocabulary
integrated together. Full sound, not scratchy.
Swinging rhythmic playing.
Beautiful melody played with bow after piano
intro. Second section and solos are pizz. Breif
outro arco.
Aggressive rhythmic pizz with vocalization
during intro. Intricate rhythms as melody. After
piano break, transitions to arco to play piano
melody in unison. It is very quick but
characteristic of Cohen's fleeting use of the bow
as another sound color.
Pizz accomp. quickly transitions to arco.
Alternates between techniques.
Free improv starting with pizz. Switches to bow
nearing end in counterpoint with saxophone.
Middle register, microtonal, extended bowing
techniques.
Sparse piano introduction with arco bass
entering lightly. Held low bass note with varying
harmonic techniques.
78
The Blues I Love To Sing
Bassline performed by Wellman Braud
D. Ellington
pizz
? 4 œ Œ #œ » œ ¿ œ» Œ
4
œ
»
»
»
»
œ Œ #œ œ œ œ œ ¿ œ ¿ #œ ¿ œ ¿ œ ¿
7
arco
? œ ¿ #œ ¿ œ Œ œ» ¿ œ ¿ #œ» ¿ œ ¿ œ nœ
œ Œ œ Œ
œ Œ œ Œ
pizz
13
? œ Œ œ Œ
œ Œ œ Œ
»
» »
»
»
»
»
œ Œ #œ œ œ ¿ œ ¿ œ ¿ #œ ¿ œ ¿ œ nœ
»
»
œ
Œ
Œ
œ
œ Œ bœ» Œ
19
arco
? œ» Œ
Œ
œ
œ» Œ œ» Œ
œ Œ œ Œ
œ Œ œ Œ
pizz
25
» » » » » » œ» » »
»
»
œ
¿
¿
œ
¿ œ nœ œ Œ œ Œ
œ œ #œ œ
œ œ œ #œ
? œ Œ œ Œ
31
arco
? œ Œ œ Œ
˙
œ Œ Ó
∑
˙
˙
˙
b˙ n˙
˙
˙
˙
˙
bœ nœ œ Œ
˙ b˙
38
˙
?
˙
˙ b˙
˙
n˙ n˙
˙
b˙ n˙
˙
45
? ˙
b˙
˙
˙ b˙
˙
œ bœ ˙
˙ b˙
˙ b˙
˙
˙
˙
˙
52
?
˙
b˙ n˙
˙
˙
b˙
˙
œ Œ œ Œ
79
2
59
pizz
? œ Œ œ Œ
œ Œ œ Œ
œ Œ œ Œ
œ œ #œ œ œ ¿ œ ¿ œ ¿ #œ ¿
65
arco
? œ ¿ œ ¿ œ Œ
Œ
œ
œ Œ œ Œ
œ Œ bœ Œ
œ Œ œ Œ
œ Œ œ Œ
71
? œ Œ œ œ
œ œ œ œ
œ œ œ œ
œ œ #œ œ
œ œ œ œ
76
˙
? œ
œ #œ Œ
˙
Ó
w
w
˙
U
w
80
Jayne
Ornette Coleman
GŒ„Š7
? #4
4
B¨‹7
∑
œ œ œ œ œ œ Œ
# œ œ n œ œ bE¨7
œ nœ bœ #œ nœ œ bœ
œ
Ó
GŒ„Š7
œ n œ Bº7 œ œ b œ bœ œ œE7
œ
œ#œ œ œ œ œ
? # œ nœ œ œ nœ œ œ œ œ œ ‰ œJ
nœ
‰ J ‰ J
5
A‹7
9
B‹7
E7
? # œ œ œ œ œ ‰ bœj nœ œ #œ œ #œ œ Œ
E¨7
<#>
? # œ œn œ œ bœ œ bœ œ œ bœ nœ œ bœ Œ
A‹7
‰ bœ nœ nœ
J
A‹7
#œ
œ œ #œ œ œ œ
Œ Œ ‰ J
D7½
13
œ
bœ
‰ œ nœ nœ œ œ œ bœ œ œ bœ œ œ
J
GŒ„Š7
B¨‹7
E¨‹7
œ
™
? # œ nœ œ œ nœ œ œ œ œ œ Œ ‰ # œJ œ œJ n œ œ bœ œ bœ œ œ œ bœ Œ
17
GŒ„Š7
B‹7
E7
œ œnœ œ œ
œ
œ œœ œ œ
œ
n
œ
œ
nœ œ œ œ œ
œ
?# ‰ J
œ
œ
œ œbœ nœ œ œ œ œ
21
3
A‹7
25
? # Œ ‰ œJ œ œ Œ
B‹7
E7
A‹7
3
C‹6
œ œ œ œ œ œ œ œ œbœ œ œ#œnœ
œ œ œ#œ
œ‰ J
‰ J
‰ J
Œ
B‹7
E7
A‹7
D7
GŒ„Š7
#œ
œ œ
œ
œ
b
œ
œ
b
œ
œ
œ
bœ bœ nœ
œ #œ œ nœ ‰ œ ˙
?#
‰ J
J
29
33
GŒ„Š7
B¨‹7
j
j
j
& ‰ œ œ œ ‰ œ œ œ œ œ œ œ œ œ ‰ œ bœ œ nœ
∑
&
E¨7
#
‰ œj œ bœbœ nœ nœbœ
œ
œ œbœ
81
2
37
GŒ„Š7
Bº7
nœ
?‰ J bœnœ ‰ œ œ œ œ œ Œ
& # œ nœ œ
J
#
41
A‹7
B‹7
E7
E7
œ œ œ œ œ œ œ œ bœ œ œ 3 3
œnœ œ œ œ œ
œ
œ
3
3
A‹7
?#
j œ œ ‰ œj œ œ œ œ #œ œ Œ
œ™ œ
œ œ #œ œ bœ œ
œ nœ œ
œ ‰ œ Œ ‰ bœ
J
J
E¨7
A‹7
D7½
45
œ
œ œ bœ œ œ
? # ‰ œ ‰ œ ‰ bœJ ‰ œJ bœ œ nœ bœ œ ‰ #œ nœ œ nœ œ œ œ
Ó
J
J J
49
GŒ„Š7
œnœ œ œ œ œ œ œ
?# Œ
B¨‹7
E¨‹7
bœ
œ ‰ œ œ œ œ ‰ œJbœ œ œ œ bœ œ œ nœbœ œ œ œ nœ
J
GŒ„Š7
B‹7
E7
œ œ œ œ œ œ œ œ œ œ œ n œ œ œ œbœ œ œ
? # œ nœ nœ œ œ œ œ œ œ œ œ œ
œ
53
3
A‹7
B‹7
E7
A‹7
C‹6
œ œ œ#œ œ
œ
œ
œ
œ
œ
#
œ
?# Œ ‰ J
Œ & œ ‰ œj œ #œ nœ #œ œ œ
Ó
œ# œ
57
B‹7
E7
A‹7
D7
GŒ„Š7
œ
œ
œ
œ
œ
œ
œ
œ
b
œ
œ
n
œ
œ
b
œ
nœ œ œ œ
?#
‰ bœJ nœ
‰ J
Œ
61
∑
?
82
Emily
From The Album
Paul Kuhn and John Clayton, Jeff Hamilton - The L. A. Session
Solo by John Clayton
Johnny Mandel
C
A‹7
D‹7
G7
arco
& œ œ ˙
œ œ œ
≈
œ œ
˙
œ œ
C
5
G‹
C7
FŒ„Š7
˙™
B¨9
3
& Œ
Ϟ
œ œ œ
9
AŒ„Š7
#˙
D7
œ
C
25
29
j
œ # œ œ #œ ™
D‹7
œ œ
FŒ„Š7
œ œ œ œ
B7(b9)
œ
D‹7
œ
œ
œ
E7(b9)
œ œ œ ˙
œ
œ
œ
œ
C&7
œ
j
œ nœ #œ
G7
œ ˙
A‹7
& œ
Ϫ
œû œ
œ
œ
& œ
œ œ
G&7
A‹7
& œ œ ˙
Ó
nœ
D‹7
œ
21 CŒ„Š7
E7
˙
œ #œ œ œ
œ
œ
˙
B‹7
&
17
œ œ œ ˙
Œ
A‹7
œ
œ
F©‹7
& œ
13
œ
˙
E‹7
m
˙
‰
#œ
G7
œ bœ nœ
A7
œ œ ˙
Œ
B¨7(#11)
Ϟ
A7
œ
/G
3
& Œ
œœœ Œ
œ œ
œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ
œ
33 F©‹7(b5)
F‹7
E‹7
Ÿ~~~~~
œ
& œ œ ˙ œ œœ˙
A7
D‹7
G7
C
‰ j
œ œ ˙™
œ
œ
œ
œ
œ
œ
œ œœœœ œ
∑
83
Emily
From The Album Explosive! Clayton-Hamilton Jazz Orchestra
Johnny Mandel
Melody played by John Clayton
Melody
C
A‹7
3
& 4 œ œ œ™
5
CŒ„Š7
C&7
œ
G7
œ œ œ œ œ œ œ
œ
œ
œ
FŒ„Š7
œ œ œ œ
œ
& œ
D‹7
œ œ œ œ ˙
E7(b9)
œ nœ bœ œ
œ
œ œ œ #œ
œ œ œ #œ n˙
3
9
A‹7
B7(b9)
& ˙
13
œ nœ
j
nœ
17 F©‹7(b5)
D‹7
œ
œ
A7
œ œ œ ˙
A7/G
œ
Ϫ
œ
G7
E‹7
Œ
œ
œ
œ
œ
œ ˙
A7
œ œ ˙
bœ œ œ
œ
C
œ
˙™
˙™
Outro
œ œ œ œ
& œ œ
œ
o
œo nœ
œ œ œ œ œ œ œ #œ
œ
U
˙™
˙™
28
œ
œ œ
˙
& œ œ ˙
j
œ #œ œ œ
B¨7(#11)
F‹7
œ
A7
œ œ œ™
#œ
G7
& œ œ œ™
21
˙
D‹7
& œ
E‹7
œo
U
˙o
84
Liltin' With Milton
From the album Solo Flights by Lynn Seaton
Lynn Seaton
Ad lib.
arco
bpizz
˙˙ b œj œ œ b œ œ œ œ O O
?b ˙
bpizz
œœ b ˙˙
œ ˙
arco
bœj
bœ O bœ œ œ œ O O O
mf
n œ # œ œ œ b œ œ b œ b œj œ
arcoœ b œ œ
b
˙
œ b œj œ œ b œ œ œ nœ b˙
œ
œ
b
œ
n
˙
b
œ
? n œœ ˙
b
pizz
3
3
œœ œ b œ œ œ nœ bœ
?b œ J
œ œ bœ œ œ œ œbœ œbœ œj œnœ3bœ j
œ
œ bœ œ n œ ~~~~~~~~~~~
J
J J
n œ œ œ œ b œ œ œ œ Oû
5
n
œ
œ
bnœœ n œ œ b œ œ
n
œ
œ
œ
? œ œ n#œœ œ œ bnœœ nœ œ n#œœ œ ~~~~ œ œ œ œ
b
∏∏∏∏∏
∏∏∏∏∏
∏∏∏∏∏
∏∏∏∏∏
4
rit
bO œ b œ œ
7
œ
œ œ œbœ œ
?b
bœ œ œ nœ bœ œ nœbœ
nœbœ ˙
pizz
œ n˙
bn˙˙
b
œ
˙ n œœ ˙
a tempo
9
arco
? b bœ
œ bœ
œ ùb O
œ
œ
œ
œ , bO
ù
œ
bœ
j
œ
˙
œ
bpizz
œ œ arco
bœ
? b œ œ œ œ œ œbœJ œ œ œ œ œ œ œ œ œ œùœ œ œ œbœ œ œ œ œ œ bœ œ
10
3
3
11
pizz
? b n˙˙˙
bn˙˙
˙
bœ nœ œ nœ œ œ bœ nœ bœ nœ œ œ
œ
œ
œ bœ œ œ
arco
6
12
6
bœ nœ nœ nœ œ œ bœ nœ œ nœ œ œ bœ nœ œ nœ œ œ bœ nœ œ nœ œ œ
?b
6
6
6
accel.
cresc.
6
85
2
b œ n œ n œ n œ œ œ b œ n œ œ n œ œ œ b œ n œ œ n œ œ œ b œ n œ œ n œ œ œ ˙~~~
~~~~~~~~
~~
?b
13
6
6
6
6
15
~~
? b n#~ -œœ bn-œœ œ ùbœ œ œ œ œ œ ùœ œ œ œ œ œ ùO œ œ œ œ
J
J
J
f
arco
17
?b œ
arco
pizz
œ
œ n#œœ
bnœœ narco
˙˙
œ bœ
˙
pizz
˙˙
˙
n œ n œ n ˙~~~~~~
bpizz
œœ bn˙˙˙
œ œ œ
~~~~~~
n
œ nœ œ œ
pizz
arco
∏∏∏∏∏
˙˙
˙
∏∏∏∏∏
bœ
? b bœœœ nœœ
∏∏∏∏∏
16
∏∏∏∏∏
ff
pizz
œ
œ nœ #œ
b œœ #nœœ
œ nœ
˙˙
˙
˙˙
˙
4
4
rit.
In time
18
F7
n œ œ bœ œ œ œ
œ œ bœ œ œ œ
œ œ bœ œ œ œ
? b 4 œœ œœ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ
4
B¨7
œ œœ b œœ œœ œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ
œ
œ
œ
?b œ œ
21
F7
G‹7
C7
œ œbœ œ œ œ
œ œbœ œ œ œ
œ œ œ œ œ œbœ œ œ œbœ œœ
? b œœ œœ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ
24
3
C7
œ œ b œ œ œ G‹7
œ
œ
?b œ œ
#œ
œnœ œ œ œ
28
F7
F7
œœ œœ œœ œœ b œœ œœ œœ œœ œœ sim
œœ œœ œœ b œœ œœ œœ œœ
œœ œœ œœ œœ b œœ œœ œœ œœ
œ œœ b œœ œœ œœ œœ œ œ œœ œœ b œœ œœ œœ œœ B¨7
œ
œ
œ
? œ œ
œ œ
b
32
œ œ œœ œœ b œœ œœ œœ œœ F7œ œ œœ œœ b œœ œœ œœ œœ œ œ œœ œœ b œœ œœ œœ œœ
?b œ œ
œ œ
œ œ
35
86
3
G‹7
C7
G‹7
C7
bF7œ œ b œ
œœ œœ
b
œ
œ
n
œ
œ
ù
œ
œ
œ
n
œ
b
œ
œœ œœ
? b œ œ b œ œ œœ œœ nœ œ œœ œœ
œ œ œ œbœ œ œ œ
38
F7
˙
? b œœ Œ
œ bœ œ
42
B¨7
nœ œbœ œ bœ nœ œ œ œ
bœ œbœbœ œ
Œ ‰ œJbœ ¿ nœ
œ
F7
47
? b nœ
œ œ bœ
œ ‰ nœJ œ
G‹7
b œ œ b œ bœ nœ bœ œnœbœ
œœ n œ
œ
œ
œ
œ
œ
#
œ
nœ
nœ ‰ J
3
C7
G‹7
C7
œ b œ œ œ bœ F7œ
œ
œ
œ
œ
n
œ
œ
œ
œ
œ
?b œ
nœ œ œ œ ‰ ¿
nœ#œ
J
3
F7
51
œ œ bœ nœ œ œ œ
B¨7
55
? b bœ œ #œ œ œ œ nœ bœ œ nœ nœ bœ œ bœ nœ#œ #œ nœ œ ‰ œ œ nœ bœ œ œ nœ œ bœ
bœ œ
b œ œ œ œ œ œ F7 œ œ œ œ bœ œ b œ œ œ nœnœ G‹7bœ œ n œ œ œ
œ ‰ J ‰ J
œ
?b
‰
59
3
C7
œ
63
F7
œ œ œœœ œ
G‹7
C7
F7
œ œ œnœ
œ œ œ œ œ œ#œ œ œ
bœnœ œ
?b
Œ
&
bœœ œœ nœœ nœ
B¨7
67
& b bœ bœ œbœ œ œ ‰ œj bœ œ œ œ œ œ œ nœbœbœ œbœ œ nœbœ œ ‰ j œ œbœ
nœ bœ
F7
71
G‹7
3
& b<b>œ œ œ nœ ‰ œj bœbœ nœ œ nœ nœ œ œ œ œ œ œ œ#œ œ ‰ œj œ
œ œnœ œ œ œ
75
&b
C7
F7
G‹7
C7
F7
‰ œj œ œ bœ œ œnœ œ œ ‰ œJ ‰ œJ œ œ bœ ™ œj œnœ ‰ j Œ ‰
œ
œ
œ
œ
œœ
œ
87
4
B¨7
80
&b
F7
œnœ bœ bœ œ ‰ j bœ œ œ ‰ ¿J ‰ ¿J bœœ œœ œœ œœ
œ
#
œ
œ
œ
œ
b
œ
œ
n
œ
œ
nœ œ
nœ#œ
œœœ
G‹7
85
C7
F7
j
& b bœœ œœ ‰bnœœ œœ ‰ œ œ œ ‰ œnœ œ ‰ œ œ œ œ œ œ
nœbœ
89
G‹7
C7
œœ
œ#œ œ
œ
œ
œ
œ
F7
œ œ bœ œ œ œ ‰ bœj ‰ œj œ
?
œ
b
œ
n
œ
œ œ
œ nœ œ n œ b œ
nœ
& b œ œ nœ œ œ œ
B¨7
93
F7
? b œ œ œ œ œ œnœ bœœ œœ bœ œ bœ œ œ œ ‰ œj œ œ œ œ bœ œ œnœbœ œ Œ
bœ œ bœ œ œœ
G‹7
œnœ œ
œ
b
œ
œ
œ
?b
œbœnœbœnœ
C7
F7
G‹7
C7
98
3
102
3
&
3
œ bœ œ™ œj œ œ œ œ#œ œ œ œ œ œnœ
Œ
ù
œœœ
3
F7
3
3
3
3
& b œœ œœ œœ#nœœ œœ Œ bnœœ œœbœœ#nœœbœœ Œ bnœœ œœ##œœ œœnbœœ Œ # œ œ # œ ## œœ bœ œ ‰ ?bnœœJ
# œ œ# œ
B¨7
F7
œbœ œ œ
œ œ œ nœ œ #œ œ ‰ œ
? b œœ œ bœ ™ œ œ œ œ œ ‰ bœJ ‰ œ œ nœ œ
J
J
J
106
F7
n œ œ b œ œ b œ œ C7
œ
3
3
œ
n
œ
b
œ
b
œ
œ
n
œ
b
œ
nœ œ #œ nœ œ œ
œ
?b
?
œ
œ
n
œ
b
œ
b
œ
&
œbœ œnœbœ
110
G‹7
3
3
3
3
3
3
G‹7
C7
bF7œ œ œ œ b œ œ œ
bœ œ œ œ b œ œ œ
? œ œnœbœnœ œ ‰ œ ùùœ b œ nœ b œ nœ b œ nœ ‰ ¿ ‰ j œ œ b œ œ œ nœ œ œ Œ ‰ ¿j
b
J
J ¿
113
B¨7 œ b œ œ b œ
F7 b œ œ œ b œ
b œ nœbœ œ
nœbœ nœ
? b œ œ œ œ œ œ œ ‰ œJ ‰ ¿J ‰ œ œ œ b œ nœ b œ nœ b œ œ bœ Ó
J
118
88
5
G‹7
C7
F7
3
nœbœnœ œ#œnœ
œ
o œo œo
œ
n
œ
b
œ
n
œ
n
œ
?b
œ
b
œ
n
œ
‰
œ
&
J ‰ J œ bœ œ œ œ œ œ œ
3
3
3
3
122
125
G‹7
C7
F7
& b œ œ œbœ nœ œ ‰ œj œ œ œ œ œ œ œ œ œ œ œ œbœ œbœ nœ œ œ œ œ bœ œ œ
bœ
B¨7
F7
j œj
j
œ
œ
œ
œ
b
œ
‰
œ
Œ
œ
œ
‰
bœ œ œ
œ nœœ œœ œ œ œ œ #œ ‰#œ Œ
& œ œ œbœ œ
œ
œ
œ
nœ œ bœ
129
3
134
G‹7
C7
F7
3
3
& b œ œ œ œ œ nœ œ œ œ œ
nœ bœ œ œ
137
G‹7
C7
F7
3
3
3
?
& b œnœbœbœ œbœ œnœbœ œ œbœ
˙˙
˙˙
3
3
œ bœ œ &
œ œ œ œ n œ b œ œ œ bœ
œœ ™™ œœ œœ œœ œœ œ b œ œ nœ
J Œ
3
F7
œœ ™™ œœ œœ œœ œ b œ œ nœbœ œ œ œnœ œ#œ
œ‰œ
JŒ
J
G‹7
C7
F7
G‹7
C7
œœœœœ
146
n
œ
œ
œ
œ
3
œ
œ
?b œ œ œ œ
œ œ œ œ œ œj
?¿
&nœ œ #œ
œ œ œn œ ‰ J
B¨7
141
? b bœ œ œ œ ‰ œ ™
150
˙˙
˙˙
F7
sim. œ œ b œ œ œ œ
œ œ bœ œ œ œ
œ œ bœ œ œ œ
? b œœ œœ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ
œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ
œ œœ b œœ œœ œœ œœ B¨7
œ
œ
œ
? œ œ
b
153
F7
G‹7
C7
œ œ œœ œœ b œœ œœ œœ œœ œ œ œœ œœ b œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœ
?b œ œ
œœ
œ
œ
156
89
6
160
F7
G‹7
C7
œœ œœ
œœ œœ ùœœ œœ œ b œ œ nœbœ œ
Œ Œ
‰ J Œù
F7
? b<b>œ œ œ œ œnœ œ œ œ œ œ œ œ œ œ Œ
B¨7
F7 œ b œ
œ
œ nœbœ œ œ œ
œ
œ
œ
œ
œ
œ
? b nœ œ#œ œ Œ nœ Œ œ Œ œ ‰ œ Œ œ œœ
nœ œ ‰ œ Œ
J
J
170 G‹7
œ œ b œ œ b œ œ C7
b œ œ F7 nœ bœ
œ
3
3
œ
n
œ
b
œ
œ
œ
?b
?
nœ œ œ nœ œ œ
& œnœbœbœ œbœ œnœbœ
165
3
3
3
3
3
3
G‹7
C7
? b œ œ nœ œ nœ œ œ ‰ œ
J
3
173
œœF7 œœ œœ œœ b œœ œœ œœ œœ œœ sim.
œœ œœ œœ b œœ œœ œœ œœ
œ œ œœ œœ b œœ œœ œœ œœ
œ œœ b œœ œœ œœ œœ œ œ œœ œœ b œœ œœ œœ œœ B¨7
œ
œ
œ
œ œ
?b œ œ
œ œ
176
D7
œœ œœ œœ œœ b œœ œœ œœ œœ F7œ œ œœ œœ b œœ œœ œœ œœ F7
?b
œ œ
œ œ bœ œ ‰ œ ‰ œ
J
J
C7 b œ œ œ
182 G‹7
œ #œnœ
œœo
œ
œ
n
œ
U
œ
œ
?b œ œ
‰ J ‰ J #œ œ nœ nœ nœ œ œ œ ‰ J Œ
w
179
sf
90
SOffial
Mark Dresser
0:00
0:07
?
œ ™ œj bœ œ œ œ œ
#œ-. œ-. œ-. œ™ œj O
-. .
mp
#œ-. œ-. œ-. œ
-
œ œO
4
0:12
? 44
#œ
œ
~
œ
nœ
œ
œ
œ
œ
mf
5
p
pp
0:18
j
bœ ™ œ ~
? œ #œ œœ #œ nœ œ œ œ œ
~
mf
bœ œ ~
bœ œ ~
~
~
mp
mf
p
0:34
-œ -œ -œ -œ -œ -œ ,
? nœ œ œ œ œ
œ
~
6
molto vib
œ b˙
˙
˙ #˙˙
~
mf
mp
f
mp
O ~
f
8
0:50
? œ nœû #˙
˙
0:56
œ
œ
O
O
OO
O
OO
O
OO
O
œ #~~
~
~
ff
f
1:18
# ~wo
1:08
11
? >˙˙
port.
port.
O
˙˙
~
mf
o ooooo
1:36 œ
œœœœœ
13
? R≈
p
1:42
mp
o
o
o
o
o
o
o
o
o
o
œ
œ
œ
œ
œ
œ
O O O O O O O œ O œ bO b œ bO œ
mf
port. 2:15
15
? œ œ œ œ nœ œ œ œ bœ œ œ œ œ œ œ œ ˙˙
OO
flautando
~o
,
p
2:22
17
draw bow diagonally
,
,
,
? é
#
O
#
O
#O O O O nO #O O #O O nO #O O #O #O nO #O nO #O ~
mp
20
3:03
?
O
#O O #O #O O #O O #O nO #O #O
#O nO #O #O n~
91
2
3:26
21
-Circular bowing 3:10
?
~
~
f
- slow
œ œ œ
#~
Drop-bow tech
~
™œ
>œ œ œ œ œ œ œ pppp
pp
92
Unfolding
From The Album Unfolding by Edgar Meyer
Solo by Edgar Meyer
Edgar Meyer
3:18
E‹7
œ
œ
? ## 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
4
œœ
&
œœœœœœœœœœœ œ
3
#
&#œ
5
œ œ œ œ œ œ œ œ
œ
œ
œ
œ
œ
œ œ œ
œ œ œ œ œ œ
‰
A
# ˙
&#
9
Œ
G7
Ó
Ó
F©7
‰
œnœ œ ˙ ™
œœœœœœœ
œœœœœœ œœœœœœ
B7
Œ
C
D7
3
3
3
#
&#Ó
Œ ‰
œ œ œœ
12
E‹7
#
&#
œœ
œ œ œ œnœ œ œ œ œ
C
œ
œœ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
E‹
C
B7
~~~~
œ
œ
œ
œ
œ
œ
œ
œ
œ
#
œ
œ
œ
œ
œ
œ
œ
Œ
Œ
œ
œœœœœœœ
Œ
˙
D7
œœœœ
16
A7
F©7
##~ œ nœ œ œ ˙
&
22
F
B7
F
œ bœ œ œ ˙
E‹
F
E‹
Ó™
≈ œ™ ˙
J
Œ œ w
w
E‹
œ b œ œbœ
nœ bœ
b
œ
n
‰ œ#œ œ œJ bœ œ œ J œbœ œ œJ bœ nœbœ#œJ nœ œbœ J œ œ J
3
#
&#Œ
3
3
3
3
3
3
24
F©7
## # ˙ ™
&
œ œ œ n œ #œ nB7˙
C
D7
3
Ó
3
3
3
Ó
œ œœ
œœœœœœœœ œ
3
27
E‹7
C
3
## 3
œ
œœœœœœœ œ
& œœœœœœœœœœœœœœ œœ
3
3
3
3
3
3
D7
œ #œ
Œ
93
2
29
E‹7
# œ
&#
31
A7
C
B7
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ Œ
G7
F©7
B7
‰ œ #œ œ œ œ œ
E‹
œœœœ w
#
& # œ œ œ œJ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ?
3
94
C Jam Blues
Duke Ellington
C7
F7
°? 4 œ œ Œ
4
5
Ó
œ œ Œ
œ œ
œ œ œ
?4 œ
4
w
?4
4
? 4 bw
¢ 4
C7
œ œ Œ
œ
J Ó
Ϫ
œ œ
nw
œ œ œ
œ
w
bw
bw
œ
œ
bw
w
F7
∑
œ œ
C7
°? œ œ Œ
Ó
œ œ Œ
œ œ Œ
œ
J Ó
Ϫ
œ œ œ
? œ
œ œ
œ
bw
bw
œ œ œ
nw
w
bw
? w
œ œ
∑
œ œ œ
œ
w
?
bw
¢
9
D‹7
G7
°? œ œ Œ
? œ
w
?
? w
¢
Ó
œ œ œ
C7
œ œ Œ
œ
œ œ Œ
Ϫ
G7
œ
J Ó
œ œ
∑
w
œ œ
w
œ œ œ œ
w
nw
bw
nw
œ œ
œ
95
Milt's Lilt
Geoff Saunders
A7
D7
? ### 4 œ œ
4œ œ
3
œœ œœ
œ œ nœ œ œ
œ œ œ œ œ
œ
œ
A7
œœ
œ
œ
œ nœ
œ œ
œ
œ
œ
œ
œ
œ
œœ
œ
œ
œ nœ
œ œ
œ
œ
œ
œ
œ
œ
D7
? ### œœ
7
œ
œ
A7
? ### œ
œ
5
œ œ nœ œ œ
œ œ œ œ œ
œœ
œœ
œ
œ
œ nœ
œ œ
œ
œ
œ
œ
œ
œ
œœ
œ
œ
œ nœ
œ œ
œ
œ
œ
œ
œ
œ
D7
A7
A7
F©7
œœ
B‹7
E7
? ### œ œ œ œ nœ œ œ œ œ œnœ#œ ‰ œ ‰ œ œ œ œ œnœ œbœ œ nœ œ œ œ œ œ œ œ
œœ œœ œœ œœ
J J
11
A7
? ###
œ
œ
F©7
œ nœ
œ
B‹7
œ nœ bœ
E7
œ
œ
nœ
œ #œ nœ
œ
œ
96
Moonlight In Vermont Etude
Inspired by Jimmy Blanton
Karl Suessdorf/Geoff Saunders
E¨Œ„Š7
F6 o
E¨Œ„Š7
B¨7(#11) o U
œœo Ÿ˙~~~~~
œœ Ÿ˙~~~~~
œœ ˙˙o
œœo Ÿ˙~~~~~
œœo Ÿ˙~~~~~
œ
œ
œ
œ
œ
E¨Œ„Š7
F6
œœo Ÿ˙~~~~~
arco
? bb 4
b4 œ
E¨Œ„Š7
C‹7
F‹7
B¨7(b9)
E¨Œ„Š7
C‹7
7
œ œ œ
? bb œ
œ œ
b
10
bœ nœ ≈ œ nœ bœ œ œ œ œ
œœœ œ ≈œ
œ
œ
œ
J R œ nœ
D¨7(#11)
F‹7
B¨7(b9)
œœœœ
E¨Œ„Š7
? bb œ œ nœ œ œbœ œnœbœnœ œ œbœ œ œ œbœ œ
b
nœ œ œbœ œ œ
œ.
œ
œ
3
3
E¨Œ„Š7
C‹7
F‹7
B¨7(b9)
E¨Œ„Š7
C‹7
13
? bb œ œ œ œ œ œ œ œ
b
bœ
œ œ œ ‰ œ œnœb œ œ œ œ œ nœ œ œ bœ œJ œ œ œ œ œ
J
3
3
3
3
3
D¨7(#11)
F‹7
B¨7(b9)
E¨Œ„Š7 œ
? bb œ œnœ ≈bœnœ#œ œnœ œ œ œ œ œ œbœ œ nœbœ œbœ œbœ nœ œ æœ æ æœ nœ œ œ œ
b
æ æ æ ææ ææ æ
3
A‹7
D7
GŒ„Š7
E‹7
A‹7
D7
œ œ œ GŒ„Š7
nœ œ#œ
pizz
19
#
œœœ œ
œœ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ nœ œ
? bb
#œ œ
œ
œ
bœ
œ
B¨‹7
E¨7
A¨Œ„Š7
F‹7
B¨‹7
E¨7
B¨7(b9)
œ b œ œ A¨Œ„Š7
œ
œ
œ
œ
b
œ
œ
œ
œ
23
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
n
œ
œ
œ
œ
? bb b œ
œ
b
16
arco
E¨Œ„Š7
œœ œ œ C‹7
œ œœ
27
? bb
b
D¨7(#11)
œF‹7
œ
E¨Œ„Š7
C‹7
œ œ n œB¨7(b9)
b œ œ œ nœ bœ
œ
œ œ œ
œœœ nœœ bœœ
≈
œ
b œ F‹7
b
œ
n
œ
œ
œ
? bb œ œ nœj ‰ #œ #œ œ nœ nœ
b
30
œ œ œ œB¨7(b9)
œ œ œ nœ
J
3
2
o bŸ˙~~~~~
œ ™nœ œ b œ œ C7œ œbœ
,
œ nœ œ
œ
œ
U
œ
œ
œ
œ
? bb
#œ œ ‰ 3 nœ nœ œ œ 4
4
4
b
œ
nœ bœ
rit
E¨Œ„Š7
32