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Bassline (also known as a bass line or bass part) is the term used in many styles of music, such as blues, jazz, funk, dub and electronic, traditional, and classical music, for the low-pitched instrumental part or line played (in jazz and some forms of popular music) by a rhythm section instrument such as the electric bass, double bass, cello, tuba or keyboard (piano, Hammond organ, electric ...
A separation between "organ" and "bass" mixes of tracks appeared in the early bassline scene, with "bass" or "B-Line" tracks featuring a "warp" or "reese" synthesized bass line, influenced by speed garage, and "organ" tracks featuring sampled Korg M1-style organ leads, influenced by the house music of the 1990s.
This ensemble was initially a marching band with sousaphone (or occasionally bass saxophone) supplying the bass line. As the music moved from playing for funerals on the street and into bars and brothels, the double bass gradually replaced these wind instruments. Many early bassists doubled on both the brass bass and string bass, as the ...
In this clip Pino breaks down his soaring fretless line. Chicken Grease - D'Angelo (2000) Perhaps it was John Mayer who said it best when, in 2017, he attributed one of his favorite bass lines to ...
Some of the lyrics in "White Lines" ("something like a phenomenon") echoed lyrics from the song "Cavern" by Liquid Liquid ("slip in and out of phenomenon"), in addition to the note-by-note appropriation of the bass line from "Cavern" with a rapping track overlaid. Sugar Hill did not get proper clearance to use "Cavern", resulting in years of ...
The idea to form a band centred on three bass-players came out on a drunken night, [5] and was started by Hook and Mani as "a reaction because our groups New Order and Primals had been stalled". [2] In a late 2005 interview with NME Peter Hook stated that all of the songs have three basses; "Mani does the low part, Andy Rourke in the middle and ...
Some pop songs borrow its chord progression, bass line, or melodic structure, a phenomenon attributed to the memorability and simplicity of the work. The Canon also shares roots with other, more significant chord progressions that lay the foundations of modern pop music. Its perceived ubiquity is itself an object of cultural discussion.
The song has a characteristic bass line and is set to a funk beat.For the most part, it is built entirely on a two-chord vamp: a i-IV in B ♭ Dorian (B ♭ m7 and E ♭ 7). [5] The piece's signature 12-note bass line was played by Hancock on an ARP Odyssey, [6] [7] as was one of the keyboard solos.
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