ПАРКЕРОВСКАЯ КОНЦЕПЦИЯ БАСА W.Parker (Liners notes from his CD Lifting The Sanctions) The role of the bass in a traditional Jazz group is to support the lead voice which is usually the horn (sax, trumpet, etc.) keyboard or mallet instruments. This support in the classical jazz sense requires that the bass does two things:
1. Keep time (along with the drums) in a set time measurement.
2. Play harmonic notes underneath the horns or keyboard.
For years, these were the functions of the bass. In the 60´s with the emergence of the Avant Garde, the role of the bass changed along with the new free forms of music construction. Time was the continuum that existed or with or without us. The bass and drums could (now) play rhythm, pulse, texture, density, speed, color, melody time or just play sound. These ideas were pioneered by the great bassists Henry Grimes, Alan Silva, Lewis Worell, Gary Peacock, Reggie Workman, Ronnie Boykins and Jimmy Garrison.
The inspiration for what I hear on the bass comes from Native American, Asian, African, Indian, and Blues. In my playing I utilize many different concepts and techniques:
1. No Note Technique: Playing the bass without using stops of the left hand. This is also called harp technique (African kora…Gambia, West Africa).
2. Drum Technique: A percussive technique where I relate the bass to a trap drum set. G – string is a ride cymbal, D – string is a snare drum or kalungu (African talking drum), A – string is a tom tom, and the E – string is a gong or bass drum. In playing this style, the emphasis is on rhythm and sound.
3. Note Concept: The traditional approach to the bass tuning so-re-la-me (G-D-A-E). Press position stops on the bass correspond with the diatonic tuning of the piano.
4. Sound Concept: Using sound instead of notes, this concept can be bowed or plucked.
Within these basic techniques, there are over 10 ways to bow the bass in order to evoke a full spectrum of sound:
1. Middle bow position: the bow is placed in the middle between the bridge and the end of the fingerboard.
2. Low bow position: Bowing closer to the bridge to get a more voluminous sound.
3. High bow position: the bow is placed closer to he fingerboard to achieve a softer sound.
4. Vertical bowing: A texturing sound can be achieved by bowing the string vertically up and down.
5. Circular bowing: Bowing in a circular motion produces a continuous sound.
6. Harmonic bowing: Touching the bow very lightly on the strings to get harmonics or light colors. This technique can be used in the middle, low, and high bow positions.
7. Turn bowing: The concept of running the wrist outward, flicking the bow in a forward motion on a down-bow.
8. Stick technique (col legno): Tapping the strings with the wood part of the bow.
9. Stick arco: Bowing the strings with the wood part of the bow.
10. Stick/Hair Technique: Bowing the strings with the stick and hair of the bow simultaneously.
There are also double and triple bow techniques and as many others have invented. In addition there are numerous ways to strum, pluck or pull the bass strings.
It is initially about strings. 1 string, 2 strings, 3 strings or 4. Strung over a bridge connected to the gourds, shell or carved boxes made of maple, spruce, pine, cherry wood oak. The gift is music which comes in many forms wrapped and unwrapped. Sometimes covered in silk, other times covered in ashes. It is not about jazz, it is about sound as revealed through the mysteries of life. About those who have said yes to the whisper of a flower and the shout of a blue hurricane. The politics of strings is about feeling, seeing and hearing (in that order).
W.Parker
взято из официального сайта У.Паркера
http://www.williamparker.net/home.html
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