Building Walking Bass Lines (Bass Builders) by Ed Friedland

By Ed Friedland

(Bass Instruction). A strolling bass line is the most typical method of jazz bass enjoying, however it is usually utilized in rock tune, blues, rockabilly, R&B, gospel, Latin, kingdom and plenty of different sorts of tune. The time period 'walking' is used to explain the relocating feeling that area notes create within the bass half. the categorical target of this e-book is to familiarize avid gamers with the suggestions used to construct strolling bass strains and to lead them to conscious of how the method works. by utilizing 90-minutes' worthy of recorded rhythm tracks to be had on-line utilizing the original code within the e-book, avid gamers may have the chance to place the recent studying without delay into motion. This publication actually offers bassists the instruments they should construct their very own jogging bass strains.

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Except for the Tournai fragment, which is dated 1276, the exact date of these fragments is not known and is usually estimated to be from the turn of the thirteenth and fourteenth centuries. My cut-off date is the early fourteenth century, thus excluding such a fragment as Paris, BnF ffr 19525 which dates from the mid- to late fourteenth century; neither have I included Old French underlays of songs in another language, such as those in Adam de la Bass´ee’s Ludus super Anticlaudianum. 35. This figure accounts for the twice-copied tunes in manuscripts D and S, but not the notated subsequent strophes after the first one in S.

By the early fourteenth century, we witness a separation of music and text, and a waning interest in the transmitted melodies. This phenomenon originates with earlier writers. Raimon Vidal illustrates his grammar treatise the Razos de trobar with examples from several Bernart de Ventadorn poems; the first stanza of ‘Era non vei luzer soleill’ (PC 70,7), for example, illustrates incorrect conjugation. But this song’s melody, which survives in troubadour chansonniers G, R and W, is not discussed or even mentioned by Raimon.

Although Colin’s original song is found with music in three extant chansonniers, there is no trace of trouv`ere music in Deschamps’ parody. By 1400, then, troubadour and trouv`ere song was no longer fashionable. The first wave of reception had already come and gone. To summarize this chapter, the troubadours flourished in the late twelfth century and the trouv`eres in the early thirteenth. The oral dissemination of their songs gave way to a vibrant and varied literary transmission in the thirteenth century and into the early fourteenth.

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