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A free-bass system is a system of left-hand bass buttons on an accordion, arranged to give the performer greater ability to play melodies with the left-hand and form one's own chords. The left-hand buttonboard consists of single-note buttons with a range of three octaves or more, in contrast to the standard Stradella bass system, which offers a ...
Alberti bass is a kind of broken chord or arpeggiated accompaniment, where the notes of the chord are presented in the order lowest, highest, middle, highest. This pattern is then repeated several times throughout the music. [ 5 ] The broken chord pattern helps to create a smooth, sustained, flowing sound on the piano.
Freebass. Freebass were an English rock supergroup consisting of, originally, three bassists - Andy Rourke (formerly of The Smiths), Peter Hook (formerly of Joy Division & New Order) and Gary "Mani" Mounfield (of The Stone Roses and Primal Scream) - and singer Gary Briggs (formerly of Haven). [2] [3] Rourke subsequently left the line-up.
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 ...
Paul Laurence Dunbar Chambers Jr. (April 22, 1935 – January 4, 1969) [1] was an American jazz double bassist. A fixture of rhythm sections during the 1950s and 1960s, he has become one of the most widely-known jazz bassists of the hard bop era. [2] He was also known for his bowed solos. [3][4] Chambers recorded about a dozen albums as a ...
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To get the loud bass sound Paul played a different bass, a Rickenbacker. Then we boosted it further by using a loudspeaker as a microphone. We positioned it directly in front of the bass speaker and the moving diaphragm of the second speaker made the electric current." [9] Combined with this was the conscious desire to be different.
The bass pattern is an arpeggiation in the sense that its middle note (V) first arises as the fifth of the elaborated chord (I), of which it is the upper-fifth divider. It is only when it meets with the passing note of the fundamental line that V becomes an independent chord within the first one. [4]