Posts Tagged ‘bass line’

Swing Bass for Piano: Get Your Left Hand In Action

Tuesday, August 26th, 2008

Left hand swing bass
It is called “swing bass” because your left hand swings back and forth between a low note (or group of notes, such as a 10th, alternating with a chord in the area right below middle C.

You definitely know the sound of swing bass when you hear it, even though you may not know its characteristic name. The swing style of playing is great for the piano because of the left-hand, right-hand ability the piano affords. You can play swing bass on the piano with the left hand while the right hand improvises a melody over it.

Swing bass starts with an underlying lower register note feel given to a song. Its roots are in jazz from the 1920 to 1940 era. During the 1920s, dance music was very popular in North America. This dance music was of the jazz form. During this 20-year period, some of jazz music’s most creative musicians and composers stretched the limits of this music.

Dance music tradition dictated sticking to melodies as written. The pioneers of swing music and swing bass arrangements felt that melodies needed each individual musician’s interpretation. Improvisation became the norm, and jazz had a new form that gave musicians a lot of freedom for personal music expression.

Of course, these freer melodies required a supporting bass line that fit the swing style. The swing bass style developed based on rhythm, harmony, and melody elements. Other names for swing bass are “stride” or “striding bass.” The harmonic unit for swing bass is sometimes tenths in the left hand. The piano player plays notes that are 10 scale notes apart from each other, often with the 5th of the chord included between the root and the 10th (10th is the same as a 3rd, except an octave higher)taking big strides from the low group of notes up to the chord somewhere around or below middle C. Often on the 3rd beat of a measure the 5th of the chord is used as the low note, followed by another chord on the 4th beat.

The harmonic unit for swing bass is a combination of half-note swing bass and quarter note “walk bass.” The “walk bass” involves playing the fundamental, third and fifth notes of a chord. The leaps are not as extreme in the walking bass. Therefore, a pianist can mix the great striding sounds of swing with the shorter leaps of sound of the walking bass. This lends variety to a swing piece and gives it that unique jazz feel.

The melodic unit of swing music to improvise over the swing bass are quarter, eighth, sixteenth and triplet notes. Again, playing around with these note values to shorten or lengthen note sounds is at the heart of swing playing and jazz improvisation. A piano player can jazz up even the most basic popular song by adding swing elements to a piece.

The swing bass sound and feel is great for the piano because of the lower notes. A piano player can give a bass feel to a song without a string bass player present. The style a bass player would use can be part of the song, although the tone will be different. This is because string bass creates a warmer sound, while the piano makes a more percussive sound. While a string bass player can swing by bending strings and doing glissandos, a pianist cannot. The pianist can give the swing bass sound a more articulated, harder edge with the percussive abilities the keys afford.

When should piano players use the swing bass style? It’s ideal when a song needs jazzing up in a solo performance. Without accompanying musicians to provide support, pianists can lay down their own swing bass line. In addition, a band missing the services of their bass player can have their pianists perform emergency swing bass services. They can vamp away with their left hand and still have the freedom to create right-hand melodies.

Swing bass is great for changing the mood of a song for jarring contrast. Staid classical or traditional popular songs are great for this. Your listeners expect the next logical sounds to emanate from the piano, as is normal for the piece you’re playing. They are familiar with the tune and have pre-conceived expectations of how it will sound. You can surprise them by tossing in a section with swing bass and swing melody. It will delight and surprise them and keep them alert for any other surprises in the rest of your playing.

Consider the swing bass style for some of your piano playing. It is a great tool for lending spark and variety to songs. You’ll hit your stride as you practice this technique more and keep your audience swinging with your music.

Canon in D by Pachelbel: The Song Everybody Knows!

Sunday, July 20th, 2008

Canon in D -- Pachelbel

The Canon in D by Johann Pachelbel is a composition well known throughout the world. It’s a piece of music that is played in commercials, feature films, and shopping mall music systems. Its melody and harmony are such that, when heard, spur an “I know this song” reaction in listeners.
Pachelbel wrote this music around 1680. Its exact name is ‘Canon and Gigue in D Major for three Violins and Basso Continuo’. It’s now called, in regular parlance, the Canon in D (or D Major).

This canon was the only one that Pachelbel wrote. He wrote it as a piece of chamber music. Chamber music is a form of classical music originally intended for performance in a palace chamber. This type of music is for a small group of instrumentalists. One performer plays each separate part of the music.

Written for the bass and the violin and for small rooms, this song is not limited to that today. A wide variety of instruments in small and large musician groups perform this famous piece each year.

The term ‘canon’ in the title of the song refers to the type of music. A canon is music of staggered singing or playing. In a canon, different instruments or singers start playing music. However, they do not start at the exact same time. They enter into the song one after another. The key to the canon is that they play the exact same sequence of notes. This results in intriguing variety and song complexity.

The note sequence in Canon in D Major is what catches one’s ear. It is now a famous chord progression, which we recognize whenever and wherever we are. The song has a bass line-harmonic pattern, two bars long. This sequence repeats throughout the piece. The staggered singing or playing (the canon) plays over this repeating sequence of notes.

Johann Pachelbel was born in Nuremberg, Germany in 1653. He lived and worked during the Baroque period of classical music.

He was an organist, composer, and teacher in his life, who wrote much keyboard music for the organ. He wrote church music and secular music, holding jobs as a church organist throughout his career.

In fact, he established himself as a musician of stature in Erfurt, Germany. Here he was church organist at the Protestant Predigerkirchie (Lutheran Preacher’s Church) starting in the year 1678. Erfurt was the Bach family’s land of ancestral roots. Pachelbel actually taught Johann Christoph Bach, who was Johann Sebastian Bach’s older brother.

Pachelbel also worked as an organist in the Court at Stuggart and the Court at Gotha in Germany. In 1695, he became organist at the Church of St. Sebald in Nuremberg. He replaced his former teacher, the German organist and composer, Georg Caspar Wecker here upon the latter’s death.
Pachelbel wrote chorale variations for the keyboard. Written in his day for organ and harpsichord they receive treatment on modern pianos of today as well. In this type of music, the chorale melody is the theme, and then the performer plays variations of this theme.
Although famous for his Canon in D today, Pachelbel also wrote toccatas, fantasies, and fugues. One important and impressive work is the Hexachordum Apollinis, which is a set of six keyboard arias and their variations.

The Canon in D Major continues to inspire listeners, piano players, and musicians of all sorts today. It’s a ‘musical’ canon of great power that has endured through the centuries.