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Bass Guitar

Bass Guitar
The bass guitar (also called electric bass, or simply bass; pronounced /ˈbeɪs/, as in "base")
is a stringed instrument played primarily with the fingers or thumb (either by plucking,
slapping, popping, tapping, or thumping), or by using a plectrum.
The bass guitar is similar in appearance and construction to an electric guitar, but with a
larger body, a longer neck and scale length, with four, sometimes five, or six strings tuned
to the same pitches as those of the double bass,[5] which correspond to pitches one octave
lower than those of the four lower strings of a guitar (E, A, D, and G). The bass guitar is
a transposing instrument, as it is notated in bass clef an octave higher than it sounds (as is
the double bass) in order to avoid the excessive use of ledger lines. Like the electric
guitar, the electric bass guitar is plugged into an amplifier and speaker for live
performances.
Since the 1950s, the electric bass guitar has largely replaced the double bass in popular
music as the bass instrument in the rhythm section. While the types of basslines
performed by the bass guitarist vary widely from one style of music to another, the bass
guitarist fulfills a similar role in most types of music: anchoring the harmonic framework
and laying down the beat. The bass guitar is used in many styles of music including rock,
metal, pop, punk rock, country, blues, and jazz. It is used as a soloing instrument in jazz,
fusion, Latin, funk, and in some rock and heavy metal styles.

History
1930s
In the 1930s, musician and inventor Paul Tutmarc from Seattle, Washington, developed
the first guitar-style electric bass instrument that was fretted and designed to be held and
played horizontally. The 1935 sales catalog for Tutmarc's company, Audiovox, featured his
"electronic bass fiddle," a four-stringed, solid-bodied, fretted electric bass guitar with a
30½-inch scale length. The change to a "guitar" form made the instrument easier to hold
and transport, and the addition of guitar-style frets enabled bassists to play in tune more
easily and made the new electric bass easier to learn. However, Tutmarc's inventions never
caught the public imagination, and little further development of the instrument took place
until the 1950s.
1950s–1960s
In the 1950s, Leo Fender, with the help of his employee George Fullerton, developed the
first mass-produced electric bass.[8] His Fender Precision Bass, introduced in 1951, became
a widely copied industry standard. The Precision Bass (or "P-bass") evolved from a
simple, uncontoured "slab" body design similar to that of a Telecaster with a single coil
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Bass Guitar
pickup, to a contoured body design with beveled edges for comfort and a single four-pole
"single coil pickup." This "split pickup", introduced in 1957, appears to have been two
mandolin pickups (Fender was marketing a four string solid body electric mandolin at the
time). Because the pole pieces of the coils were reversed with respect to each other, and
the leads were also reversed with respect to each other, the two coils, wired in series,
produced a humbucking effect (the same effect is achieved if the coils are wired in
parallel).
The "Fender Bass was a revolutionary new instrument, one that could easily be played by
an electric guitarist, could be easily transported to a gig, and could be amplified to just
about any volume without feeding back"[9] Monk Montgomery was the first bass player to
tour with the Fender bass guitar, with Lionel Hampton's postwar big band.[10] Roy
Johnson, who replaced Montgomery in Hampton's band, and Shifty Henry with Louis
Jordan & His Tympany Five, were other early Fender Bass pioneers.[8] Bill Black, playing
with Elvis Presley, adopted the Fender Precision Bass around 1957.[11] Following Fender's
lead, Gibson released the violin-shaped EB-1 Bass in 1953,[12] followed by the more
conventional-looking EB-0 Bass in 1959. As with Fender's designs, Gibson relied heavily
upon an existing guitar design for this bass; the EB-0 was very similar to a Gibson SG in
appearance (although the earliest examples have a slab-sided body shape closer to that of
the double-cutaway Les Paul Special).
Whereas Fender basses had pickups mounted in positions in between the base of the neck
and the top of the bridge, many of Gibson's early basses featured one humbucking pickup
mounted directly against the neck pocket. The EB-3, introduced in 1961, also had a "mini-
humbucker" at the bridge position. Gibson basses also tended to be smaller, sleeker
instruments; Gibson did not produce a 34" scale bass until 1963 with the release of the
Thunderbird, which was also the first Gibson bass to utilize dual-humbucking pickups in
a more traditional position, about halfway between the neck and bridge. A small number
of other companies also began manufacturing bass guitars during the 1950s: Kay in 1952,
and Danelectro in 1956;[11] Rickenbacker and Höfner also produced models. With the
explosion of the popularity of rock music in the 1960s many more manufacturers began
making bass guitars.
First introduced in 1960, the Fender Jazz Bass was known as the Deluxe Bass and was
meant to accompany the Jazzmaster guitar. The Jazz Bass (often referred to as a "J-bass")
featured two single-coil pickups, one close to the bridge and one in the Precision bass'
split coil pickup position, and was designed by Leo Fender to be an easier bass for a
guitarist to play than the existing Precision Bass, due to the narrower nut (noted later).
The earliest production basses had a 'stacked' volume and tone control for each pickup.
This was soon changed to the familiar configuration of a volume control for each pickup,
and a single, passive tone control. The Jazz Bass' neck was narrower at the nut than the
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Precision bass (1½" versus 1¾").
Another visual difference that set the Jazz Bass apart from the Precision is its "offset-waist"
body. Pickup shapes on electric basses are often referred to as "P" or "J" pickups in
reference to the visual and electrical differences between the Precision Bass and Jazz Bass
pickups.Fender also began production of the Mustang Bass; a 30" scale length instrument
used by bassists such as Tina Weymouth of Talking Heads and Bill Wyman of The
Rolling Stones ("P" and "J" basses have a scale length of 34", a design echoed on most
current production electric basses of all makes).
In the late 1950s Jet Harris, later of The Shadows, became one of the pioneers of the bass
guitar in Britain, initially playing a Besson/Framus Star bass imported from Germany
which was later replaced by a Fender Precision.
In the 1950s and 1960s, the bass guitar was often called the "Fender bass", due to Fender's
early dominance in the market for mass-produced bass guitars. The term "electric bass"
began replacing "Fender bass" in the late 1960s, however, as evidenced by the title of
Carol Kaye's popular bass instructional book in 1969 How to Play the Electric Bass.[13]
The instrument is also referred to as an "electric bass guitar", or simply "bass".
1970s
The 1970s saw the founding of Music Man Instruments by Tom Walker, Forrest White
and Leo Fender, which produced the StingRay, the first widely-produced bass with active
(powered) electronics. This amounts to an impedance buffering pre-amplifier on-board
the instrument to lower the output impedance of the bass's pickup circuit, increasing low-
end output, and overall frequency response (more lows and highs). Specific models
became identified with particular styles of music, such as the Rickenbacker 4001 series,
which became identified with progressive rock bassists like Chris Squire of Yes, while the
StingRay was used by Louis Johnson of the funk band The Brothers Johnson.
In 1971, Alembic established the template for what would subsequently be known as
"boutique" or "high end" electric bass guitars. These expensive, custom-tailored
instruments featured unique designs, premium wood bodies chosen and hand-finished by
highly skilled luthiers, onboard electronics for preamplification and equalization, and
innovative construction techniques such as multi-laminate neck-through-body construction
and graphite necks. In the mid-1970s, Alembic and other "boutique" bass manufacturers
such as Tobias produced 4- string basses and 5-string basses with a low "B" string. In
1975, bassist Anthony Jackson commissioned luthier Carl Thompson to a 6-string bass
tuned (low to high) B, E, A, D, G, C. 1980s–
2000s
In the 1980s, bass designers continued to explore new approaches. Ned Steinberger
introduced a headless bass in 1979 and continued his innovations in the 1980s, using
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graphite and other new materials and (in 1984) introducing the Trans-Trem tremolo bar.
In 1987, the Guild Guitar Corporation launched the fretless Ashbory bass, which used
silicone rubber strings and a piezoelectric pickup to achieve a "double bass" sound with a
short 18" scale length. In the late 1980s, MTV's "Unplugged" show, which featured bands
performing with acoustic instruments, helped to popularize hollow-bodied acoustic bass
guitars amplified with pickups.

During the 1990s, as five-string basses became more widely available and more
affordable, an increasing number of bassists in genres ranging from metal to gospel began
using five-string instruments for added lower range - a low "B" below the standard "E"
string. Some bass players who performed a lot in a solo setting used five-string basses to
get a higher range by adding a high "C" string as the fifth string. As well, the onboard
battery-powered electronics such as preamplifiers and equalizer circuits, which were
previously only available on expensive "boutique" instruments, became increasingly
available on modestly priced basses.
In the 2000s, some bass manufacturers included digital modelling circuits inside the
instrument to recreate tones and sounds from many models of basses (e.g., Line 6's
Variax bass). Traditional bass designs such as the Fender Precision Bass and Fender Jazz
Bass remain popular in the 2000s; in 2006, a 60th Anniversary P-bass was introduced by
Fender, along with the introduction of the Fender Jaguar Bass.

Design Considerations
Bass bodies are typically made of wood, although other materials such as graphite (for
example, some of the Steinberger designs) have also been used. While a wide variety of
woods are suitable for use in the body, neck, and fretboard of the bass guitar, the most
common type of wood used for the body is alder, for the neck is maple, and for the
fretboard is rosewood. Other commonly used woods include mahogany, maple, ash, and
poplar for bodies, mahogany for necks, and maple and ebony for fretboards.
Other design options include finishes, such as lacquer, wax and oil; flat and carved
designs; Luthier-produced custom-designed instruments; headless basses, which have
tuning machines in the bridge of the instrument (e.g. Steinberger and Hohner designs)
and several artificial materials such as luthite. The use of artificial materials (e.g. BassLab)
allows for unique production techniques such as die-casting, to produce complex body
shapes. While most basses have solid bodies, they can also include hollow chambers to
increase the resonance or reduce the weight of the instrument. Some basses are built with
entirely hollow bodies, which change the tone and resonance of the instrument. Acoustic
bass guitars are typically equipped with piezoelectric or magnetic pickups and amplified.
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Instruments handmade by highly skilled luthiers are becoming increasingly available.
Exotic materials include woods such as bubinga, wenge, ovangkol, ebony and goncalo
alves. Graphite composite is used to make lightweight necks[14][15] Exotic woods are used
on more expensive instruments: for example, the company 'Alembic' is associated with the
use of cocobolo as a body material or top layer because of its attractive grain. Warwick
bass guitars are also well-known for exotic hardwoods: most of the necks are made of
ovangkol, and the fingerboards wenge or ebony. Solid bubinga bodies are also used for
tonal and aesthetic qualities.
The "long scale" necks used on Leo Fender's basses, giving a scale length (distance
between nut and bridge) of 34", remain the standard for electric basses. However, 30" or
"short scale" instruments, such as the Höfner 500/1 "violin bass" played by Paul
McCartney, and the Fender Mustang Bass are popular, especially for players with smaller
hands. While 35", 35.5" and 36" scale lengths were once only available in "boutique"
instruments, in the 2000s, many manufacturers have begun offering these lengths, also
called an "extra long scale." This extra long scale provides a higher string tension, which
yields a more defined tone on the low "B" string of 5- and 6-stringed instruments (or
detuned 4-string basses).
Fretted & Fretless Basses
Another design consideration for the bass is whether to use frets on the fingerboard. On a
fretted bass, the frets divide the fingerboard into semitone divisions (as on a guitar). The
original Fender basses had 20 frets, but modern basses may have 24 or more. Fretless
basses have a distinct sound, because the absence of frets means that the string must be
pressed down directly onto the wood of the fingerboard as with the double bass. The
string buzzes against the wood and is somewhat muted because the sounding portion of
the string is in direct contact with the flesh of the player's finger. The fretless bass allows
players to use the expressive devices of glissando, vibrato and microtonal intonations such
as quarter tones and just intonation.
Some bassists use both fretted and fretless basses in performances, according to the type
of material they are performing, as with Pino Palladino, whose performance on the
fretless bass during the 1980s made him a highly desirable session player backing high
profile musicians that included Eric Clapton and David Gilmour. However, the late 1990s
showed a shift toward fretted basses as well, as he branched out into a wide variety of
genres. While fretless basses are often associated with jazz and jazz fusion, bassists from
other genres use fretless basses, such as metal bassist Steve DiGiorgio and Colin Edwin of
modern/progressive rock band Porcupine Tree.
The first fretless bass guitar was made by Bill Wyman in 1961 when he converted an
inexpensive Japanese fretted bass by removing the frets.[16][17] The first production fretless

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bass was the Ampeg AUB-1 introduced in 1966, and Fender introduced a fretless
Precision Bass in 1970. In the early 1970s, fusion-jazz bassist Jaco Pastorius created his
own fretless bass by removing the frets[18] from a Fender Jazz Bass, filling the holes with
wood putty, and coating the fretboard with epoxy resin.[19] Some fretless basses have "fret
line" markers inlaid in the fingerboard as a guide, while others only use guide marks on
the side of the neck. Tapewound (double bass type) and flatwound strings are sometimes
used with the fretless bass so that the metal string windings will not wear down the
fingerboard. Some fretless basses have fingerboards which are coated with epoxy to
increase the durability of the fingerboard, enhance sustain and give a brighter tone.
Although most fretless basses have four strings, five-string and six-string fretless basses are
also available. Fretless basses with more than six strings are also available as "boutique" or
custom-made instruments.
Strings & Tuning
The standard design for the electric bass guitar has four strings, tuned E, A, D and G, in
fourths such that the open highest string, G, is an eleventh (an octave and a fourth) below
middle C, making the tuning of all four strings the same as that of the double bass. This
tuning is also the same as the standard tuning on the lower four strings on a 6-string
guitar, only an octave lower. String types include all-metal strings (roundwound,
flatwound, groundwound, or halfwound), metal strings with different coverings, such as
tapewound and plastic-coatings. The variety of materials used in the strings gives bass
players a range of tonal options. In the 1950s, bassists mostly used flatwound strings with
a smooth surface, which had a smooth, damped sound reminiscent of a double bass. In
the 1960s and 1970s, roundwound bass strings similar to guitar strings became popular,
though flatwounds also continue to be popular. Roundwounds have a brighter timbre
with greater sustain than flatwounds.
A number of other tuning options and bass types have been used to extend the range of
the instrument. The most common are four, five, or six strings:
Four Strings with alternate tunings to obtain an extended lower range.[20] Tuning in fifths
eg. CGDA gives an extended upper and lower range.
Five Strings usually tuned B-E-A-D-G, which provides extended lower range. Five string
basses tuned to B-E-A-D-G (and sometimes A-D-G-C-F) are often used in contemporary
rock and metal alongside seven string guitars, baritone guitars, and otherwise downtuned
instruments. Another common tuning used on early five-string basses is E-A-D-G-C,
known as "tenor tuning". This is still a popular tuning for jazz and solo bass. Other
tunings such as C-E-A-D-G are used though rare. The fifth string provides a greater
lower range (if a low B is used) or a greater upper range (if a high C string is added)
than the 4-string bass, and gives access to more notes for any given hand position. The
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earliest five string was created by Fender in 1965. The Fender Bass V had the E-A-D-G-C
tuning, but was unpopular. The common low B five string was created by Alembic for
Jimmy Johnson as a custom instrument, and later Yamaha offered the first production
model as the BB5000 in 1984.
Six Strings are usually tuned B-E-A-D-G-C. The 6-string bass is a 4-string bass with an
additional low "B" string and a high "C" string. While much less common than 4- or 5-
string basses, they are still used in Latin, jazz, and several other genres, as well as in
studio work where a single instrument must be highly versatile. Alternate tunings for 6-
string bass include B-E-A-D-G-B, matching the first five strings of an acoustic or electric
guitar, and EADGBE, completely matching the tuning of a 6-string guitar but one octave
lower allowing the use of guitar chord fingerings. Rarer tunings such as EADGCF and
F#BEADG provide a lower or higher range in a given position while maintaining
consistent string intervals. The original six-string bass was created by Danelectro in 1958,
as a guitar tuned down an octave (EADGBE). These earlier instruments had a sound
similar to an electric guitar tuned an octave below instead of a bass sound. In the 70's,
Anthony Jackson worked with Carl Thompson and (later) Fodera-Smith to create the
Contrabass guitar, which evolved to the modern six-string bass (BEADGC).
Detuners, such as the Hipshot, are mechanical devices operated by the thumb on the
fretting hand that allow one or more strings to be quickly detuned to a pre-set lower
pitch. Hipshots are typically used to drop the "E"-string down to "D" on a four string
bass.
Extended Range Approaches
Some bassists have used other types of tuning methods to obtain an extended range or
other benefits such as providing multiple octaves of notes at any given position, as well as
a significantly larger tonal range. Instrument types or tunings used for this purpose
include basses with fewer than four strings (1-string bass guitars,[22] 2-string bass guitars,
3-string bass guitars (E-A-D);)[23] alternate tunings (e.g., tenor bass,[24] piccolo bass,[25]
and guitar-tuned basses)[26] and 8, 10, 12 and 15-string basses, which are built on the
same principle as the 12-string guitar, where the strings are grouped into "courses" tuned
in unison or octaves, to be played simultaneously.
Extended Range Basses (ERBs) are basses with 6, 7, 8, 9, 10, 11, or 12 strings which are
not doubling unisons or octaves. The 7-string bass (B-E-A-D-G-C-F) was built by luthier
Michael Tobias in 1987. This instrument, which was commissioned by bassist Garry
Goodman, was an early example of a bass with more than six single course strings.
Conklin builds 8- and 9-string basses.[28] The Guitarbass is a 10-string instrument with
four bass strings (tuned E-A-D-G) and six guitar strings (tuned E-A-D-G-B-E).[29]

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Luthier Michael Adler built the first 11-string bass in 2004 and completed the first single-
course 12-string bass in 2005. Adler's 11- and 12-string instruments have the same range
as a grand piano.[30] Sub-contra basses, such as C#-F#-B-E ("C#" being at 17.32 Hz)[31]
have been created. Ibanez had released SR7VIISC in 2009, featuring a 30" scale and
narrower width, and tuned as B-E-A-D-G-C-E; the company dubbed it a cross between
bass and guitar.[32] Yves Carbonne developed 10 and 12 string fretless sub-bass guitars.

Pickups & Amplification


Magnetic Pickups
Most electric bass guitars use magnetic pickups. The vibrations of the instrument's metal
strings within the magnetic field of the permanent magnets in magnetic pickups produce
small variations in the magnetic flux threading the coils of the pickups. This in turn
produces small electrical voltages in the coils. These low-level signals are then amplified
and played through a speaker. Less commonly, non-magnetic pickups are used, such as
piezoelectric pickups which sense the mechanical vibrations of the strings. Since the 1980s,
basses are often available with battery-powered "active" electronics that boost the signal
and/or provide equalization controls to boost or cut bass and treble frequencies.
"Jazz" Pickups (referring to the original Fender Jazz Bass), which are also referred to as "J
pickups", are wider eight-pole pickups which lie underneath all four strings. J pickups are
typically single-coil designs, although there are a large number of humbucking designs. As
with the halves of the P-pickups, the J-pickups are reverse-wound with reverse magnetic
polarity. As a result they have hum canceling properties when used at the same volume,
with hum cancellation decreasing when the pickups are used at unequal volume and
altogether absent when each pickup is used individually. 'J' Style pickups tend to have a
lower output and a thinner sound than 'P' Style pickups making it perfect for most rock
music. Many bassists choose to combine a 'J' pickup at the bridge and a 'P' pickup at the
neck, to be 'blended' together for a unique sound.
"Precision" Pickups (which refers to the original Fender Precision Bass), which are also
referred to as "P pickups", are actually two distinct single-coil pickups. Each is offset a
small amount along the length of the body so that each half is underneath two strings.
The pickups are reverse-wound with reversed magnetic polarity to reduce hum. This
makes the 'P' pickup a [humbucking] single coil pickup; something which is almost
unique to the 'P' style pickup. Less common is the single-coil "P" pickup, used on the
original 1951 Fender Precision bass.[36]
"Dual Coil" (Humbucker) pickups, also known as "DC pickups", have two signal
producing coils which are reverse wound around opposed polarity magnets (similar in
principle to the two individual J-pickups). This significantly reduces noise from
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interference compared to single coil pickups. Humbuckers also often produce a higher
output level than single coil pickups. Dual coil pickups come in two main varieties;
ceramic or ceramic and steel. Ceramic only magnets have a relatively harsher sound than
their ceramic and steel counterparts, and are thus used more commonly in heavier rock
styles.
A well-known bass humbucker is the pickup used on the Music Man series of basses; it
has two coils, each with four large polepieces. This style is known as the "MM" pickup
for this reason, and many aftermarket pickup manufacturers and custom builders
incorporate these pickups. The most common configurations are a single pickup at the
bridge, two pickups similar in placement to a Jazz Bass, or an MM pickup at the bridge
with a single-coil pickup (often a "J") at the neck. These pickups can often be "tapped",
meaning one of the two coils can be essentially turned off, giving a sound similar to a
single-coil pickup.
"Soapbar" Pickups are so-named due to their resemblance to a bar of soap and originally
referred to the Gibson P-90 guitar pickup. The term is also used to describe any pickup
with a rectangular shape and no visible pole pieces; most of the pickups falling into this
category are humbucking. They are commonly found in basses designed for the rock and
metal genres, such as Gibson, ESP Guitars, and Schecter. 'Soapbar pickups' are also called
'extended housing'.
Many basses have just one pickup, typically a "P" or soapbar pickup. Multiple pickups are
also quite common, two of the most common configurations being a "P" near the neck
and a "J" near the bridge (e.g. Fender Precision Bass Special, Fender Precision Bass Plus),
or two "J" pickups (e.g. Fender Jazz). A two-"soapbar" configuration is also very
common, especially on basses by makes such as Ibanez and Yamaha. A combination of a
J or other single-coil pickup at the neck and a Music Man-style humbucker in the bridge
has become popular among boutique builders, giving a very bright, focused tone that is
good for jazz and thumbstyle.
Some basses use more unusual pickup configurations, such as a soapbar and a "P" pickup
(found on some Fenders), Stu Hamm's "Urge" basses which have a "P" pickup
sandwiched between two "J" pickups, and some of Bootsy Collins' custom basses, which
had as many as 5 J pickups. Another unusual pickup configuration is found on some of
the custom basses that Billy Sheehan uses, in which there is one humbucker at the neck
and a split-coil pickup at the middle position.
The placement of the pickup greatly affects the sound. A pickup near the neck joint
emphasizes the fundamental and low-order harmonics and thus produces a deeper, bassier
sound, while a pickup near the bridge emphasizes higher-order harmonics and makes a
"tighter" or "sharper" sound. Usually basses with multiple pickups allow blending of the

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output from the pickups, with electrical and acoustical interactions between the two
pickups (such as partial phase cancellations) allowing a range of tonal effects.
Non-Magnetic Pickups
The use of non-magnetic pickups allows bassists to use non-ferrous strings such as nylon,
brass or even silicone rubber, which create different tones.
Piezoelectric Pickups (also called "piezo" pickups) are non-magnetic pickups that use a
transducer crystal to convert the vibrations produced by the string into an electrical signal.
They produce a different tone from magnetic pickups, often similar to that of an acoustic
bass. Piezo pickups are often used in acoustic bass guitars.
Optical Pickups are another type of non-magnetic pickup. They use an infrared LED to
optically track the movement of the string, which allows them to reproduce low-frequency
tones at high volumes without the "hum" or excessive resonance associated with
conventional magnetic pickups. Since optical pickups do not pick up high frequencies or
percussive sounds well, they are commonly paired with piezoelectric pickups to fill in the
missing frequencies. The Lightwave company builds basses with optical pickups.
Amplification & Effects
Like the electric guitar, the electric bass guitar is often connected to an amplifier and a
speaker with a patch cord for live performances. Electric bassists use either a "combo"
amplifier, which combines an amplifier and a speaker in a single cabinet, or an amplifier
and a separate speaker cabinet (or cabinets). In some cases when the bass is being used
with large-scale PA amplification, it is plugged into a "DI" or "direct box", which routes
their signal directly into a mixing console, and thence to the main and monitor speakers.
Recording may use a microphone setup for the amplified signal or a direct box feeding
the recording console. The performer or producer may also use a blend of the miked and
direct signals.
Various electronic bass effects such as preamplifiers, "stomp box"-style pedals and signal
processors and the configuration of the amplifier and speaker can be used to alter the
basic sound of the instrument. In the 1990s and early 2000s, signal processors such as
equalizers, overdrive devices, and compressors or limiters became increasingly popular.
Modulation effects like chorus, flanging, phase shifting, and time effects such as delay and
looping are less commonly on used with bass than with electric guitar, but they are used
in some styles of music.

Playing Techniques
Sitting Or Standing

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Most bass players stand while playing, although sitting is also accepted, particularly in
large ensemble settings, such as jazz big bands or in acoustic genres such as folk music. It
is a matter of the player's preference as to which position gives the greatest ease of playing
and what a bandleader expects. When sitting, right-handed players can balance the
instrument on the right thigh or like classical guitar players, the left. Balancing the bass on
the left thigh usually positions it in such a way that it mimics the standing position,
allowing for less difference between the standing and sitting positions. Balancing the bass
on the right thigh provides better access to the neck and fretboard in its entirety, especially
lower frets.

Performing Techniques
Plucking Techniques
In contrast to the upright bass (or double bass), the electric bass guitar is played
horizontally across the body, like an electric guitar. When the strings are plucked with the
fingers (pizzicato), the index and middle fingers (and sometimes with the thumb, ring,
and pinky fingers as well) are used. James Jamerson, an influential bassist from the
Motown era, played intricate bass lines using only his index finger, which he called "The
Hook." There are also variations in how a bassist chooses to rest the right-hand thumb
(or left thumb in the case of left-handed players). A player may rest his thumb on the top
edge of one of the pickups or on the side of the fretboard, which is especially common
among bassists who have an upright bass influence. Some bassists anchor their thumbs on
the lowest string and move it off to play on the low string. Alternatively, the thumb can
be rested loosely on the strings to mute the unused strings.
The string can be plucked at any point between the bridge and the point where the
fretting hand is holding down the string; different timbres are produced depending on
where along the string it is plucked. Some players are known for plucking near the bridge
where the string is most taut, such as jazz fusion bassist Jaco Pastorius, whereas other
bassists prefer the "looser" part of the string nearer to the fingerboard.
Bassists trying to emulate the sound of a double bass sometimes pluck the strings with
their thumb and use palm-muting to create a short, "thumpy" tone. The late Monk
Montgomery (who played in Lionel Hampton's band) and Bruce Palmer (who
performed with Buffalo Springfield) use thumb downstrokes. The use of the thumb was
acknowledged by early Fender models, which came with a "thumbrest" or "Tug Bar"
attached to the pickguard below the strings. Contrary to its name, this was not used to
rest the thumb, but to provide leverage while using the thumb to pluck the strings. The
thumbrest was moved above the strings in 1970s models and eliminated in the 1980s.
"Slap & Pop"
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Bass Guitar
The slap and pop method, or "thumbstyle", most associated with funk, uses tones and
percussive sounds achieved by striking, thumping, or "slapping" a string with the thumb
and snapping (or "popping") a string or strings with the index or middle fingers. Bassists
often interpolate left hand-muted "dead notes" between the slaps and pops to achieve a
rapid percussive effect, and after a note is slapped or popped, the fretting hand may cause
other notes to sound by using "hammer ons", "pull offs", or a left-hand glissando (slide).
Larry Graham of Sly and the Family Stone and Graham Central Station was an early
innovator of the slap style, and Louis Johnson of the The Brothers Johnson is also
credited as an early slap bass player.
Slap and pop style is also used by many bassists in other genres, such as rock (e.g., J J
Burnel and Les Claypool), metal (e.g. Eric Langlois, Martin Mendez, Fieldy and Ryan
Martinie), and fusion (e.g. Marcus Miller, Victor Wooten (performing with Dave
Matthews Band and Bela Fleck), and Alain Caron). Slap style playing was popularized
throughout the 1980s and early 1990s by pop bass players such as Mark King (from
Level 42) and rock bassists such as with Pino Palladino (currently a member of the John
Mayer Trio and bassist for The Who),[37] Flea (from the Red Hot Chili Peppers) and
Alex Katunich (from Incubus). Wooten popularized the "double thump," in which the
string is slapped twice, on the upstroke and a downstroke (for more information, see
Classical Thump). A rarely-used playing technique related to slapping is the use of
wooden dowel "funk fingers", an approach popularized by Tony Levin.
Picking Techniques
The pick (or plectrum) is used to obtain a more articulate attack, for speed, or just
personal preference. Although the use of a pick is primarily associated with rock, picks are
also used in other styles. Jazz bassist Steve Swallow uses a pick for upbeat or funky songs.
Picks can be used with alternating downstrokes and upstrokes, or with all downstrokes for
a more consistent attack. The pick is usually held with the index and thumb, with the up-
and-down plucking motion supplied by the wrist (one exception is tremolo picking, in
which the whole arm is used to play a note very rapidly). Some bassists use their
fingernails to play flamenco-style, such as Geddy Lee, Cliff Burton, Les Claypool, Mike
Dirnt, and Stanley Clarke.
There are many varieties of picks available, but due to the thicker, heavier strings of the
electric bass, bassists tend to use heavier picks than those used for electric guitar, typically
ranging from 1.14 mm – 3.00 mm (3.00 is unusual). Different materials are used for
picks, including plastic, nylon, and felt, all of which produce different tones. Felt picks are
used to emulate a fingerstyle tone.
Fretting Techniques

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Bass Guitar
The fretting hand—the left hand for right-handed bass players and the right hand for left-
handed bass players — is used to press down the strings to play different notes and shape
the tone or timbre of a plucked or picked note. The fretting hand can be used to change a
sounded note, either by fully muting it after it is plucked or picked to shorten its duration
or by partially muting it near the bridge to reduce the volume of the note, or make the
note die away faster. The fretting hand is often used to mute strings that are not being
played and stop the sympathetic vibrations, particularly when the player wants a "dry" or
"focused" sound. On the other hand, the sympathetic resonance of harmonically-related
strings may be desired for some songs, such as ballads. In these cases, a bassist can fret
harmonically-related notes. For example, while fretting a sustained "F" (on the third fret of
the "D" string), underneath an F major chord being played by a piano player, a bassist
might hold down the "C" and low "F" below this note, so that their harmonics will sound
sympathetically.
The fretting hand can add vibrato to a plucked or picked note, either a gentle, narrow
vibrato or a more exaggerated, wide vibrato with bigger pitch variations. For fretted
basses, vibrato is always an alternation between the pitch of the note and a slightly higher
pitch. For fretless basses, the player can use this style of vibrato, or they can alternate
between the note and a slightly lower pitch. While vibrato is mostly done on "stopped"
notes—that is, notes that are pressed down on the fingerboard—open strings can also be
vibratoed by pressing down on the string behind the nut. As well, the fretting hand can
be used to "bend" a plucked or picked note up in pitch. To create the opposite effect, a
"bend down", the string is pushed to a higher pitch before being plucked or picked and
then allowed to fall to the lower, regular pitch after it is sounded. More rarely, a bassist
may use a tremolo bar-equipped bass to produce the same effect.
In addition to pressing down one note at a time, bassists can also press down several
notes at one time with their fretting hand to perform a chord. While chords are used less
often by bassists than by electric guitarists, a variety of chords can be performed on the
electric bass, especially with instruments with higher ranges such as six-string basses.
Another variation to fully pressing down a string is to gently graze the string with the
finger at the harmonic node points on the string, which creates chime-like upper partials.
Glissando is an effect in which the fretting hand slides up or down the neck. A subtle
glissando can be performed by moving the fretting hand without plucking or picking the
string; for a more pronounced effect, the string is plucked or picked first, or, in a metal or
hardcore punk context, a pick may be scraped along the sides of the strings.
The fretting hand can also be used to sound notes, either by plucking an open string with
the fretting hand, or, in the case of a string that has already been plucked or picked, by
"hammering on" a higher pitch or "pulling off" a finger to pluck a lower fretted or open
stringed note. Jazz bassists use a subtle form of fretting hand pizzicato by plucking a very
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Bass Guitar
brief open string grace note with the fretting hand right before playing the string with the
plucking hand. When a string is rapidly hammered on, the note can be prolonged into a
trill.
Two-Handed Tapping
In the two-handed tapping styles, bassists use both hands to play notes on the fretboard
by rapidly pressing and holding the string to the fret. Instead of plucking or picking the
string to create a sound, in this technique, the action of striking the string against the
fretboard is used to create the sound. Since two hands can be used to play on the
fretboard, this makes it possible to play interweaving contrapuntal lines, to simultaneously
play a bassline and a simple chord, or play chords and arpeggios. Bassist John Entwistle
of The Who would tap percussively on the strings, causing them to strike the fretboard
with a twangy sound to create drum-style fills. Some players noted for this technique
include Billy Sheehan, Stuart Hamm, John Myung, Victor Wooten, Les Claypool, and
Michael Manring. The Chapman Stick and Warr Guitars are string instruments that are
designed to be played using two-handed tapping.

Uses
Popular Music
Popular music bands and rock groups use the bass guitar as a member of the rhythm
section, which provides the chord sequence or "progression" and sets out the "beat" for
the song. The rhythm section typically consists of a rhythm guitarist and/or electric
keyboard player, a bass guitarist and a drummer; larger groups may add additional
guitarists, keyboardists, or percussionists.
The types of basslines performed by the bass guitarist vary widely from one style of music
to another. Despite all of the differences in the styles of bassline, in most styles of popular
music, the bass guitarist fulfills a similar role: anchoring the harmonic framework (often
by emphasizing the roots of the chord progression) and laying down the beat (in
collaboration with the drummer). The importance of the bass guitarist and the bass line
varies in different styles of music. In some pop styles, such as 1980s-era pop and musical
theater, the bass sometimes plays a relatively simple part, and the music forefronts the
vocals and melody instruments. In contrast, in reggae, funk, or hip-hop, entire songs may
be centered on the bass groove, and the bassline is usually very prominent in the mix.
In traditional country music, folk rock, and related styles, the bass often plays the roots
and fifth of each chord in alternation. In Chicago blues, the electric bass often performs a
walking bassline made up of scales and arpeggios. In blues rock bands, the bassist often
plays blues scale-based riffs and chugging boogie-style lines. In metal, the bass guitar may

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Bass Guitar
perform complex riffs along with the rhythm guitarist or play a low, rumbling pedal point
to anchor the group's sound.
The bass guitarist sometimes breaks out of the strict rhythm section role to perform bass
breaks or bass solos. The types of basslines used for bass breaks of bass solos vary by
style. In a rock band, a bass break may consist of the bassist playing a riff or lick during a
pause in the song. In some styles of metal, a bass break may consist of "shred guitar"-style
tapping on the bass. In a funk or funk rock band, a bass solo may showcase the bassist's
percussive slap and pop playing. In genres such as progressive rock, art rock, or
progressive metal, the bass guitar player may play melody lines along with the lead guitar
(or vocalist) and perform extended guitar solos. Other contemporary musicians such as
Edo Castro have taken the electric bass, including 4, 5, 6, 7, 8 & 9 strings, into a new
and evolving genre centered entirely around the bass itself.
Jazz & Jazz Fusion
The electric bass is a relative newcomer to the world of jazz. The big bands of the 1930s
and 1940s Swing era and the small combos of the 1950s Bebop and Hard Bop
movements all used the double bass. The electric bass was introduced during the late
1960s and early 1970s, when rock influences were blended with jazz to create jazz-rock
fusion. The introduction of the electric bass in jazz fusion, as in the rock world, enabled
the bass to be used in high-volume stadium concerts with powerful amplifiers, because it
is much easier to amplify the electric bass than the double bass (the latter is prone to
feedback in high-volume settings). When the electric bass is used in jazz, it has both an
accompaniment and a soloing role. When the bass is used to accompany, it may be used
to perform walking basslines for traditional tunes and "jazz standards", in smooth quarter
note lines which imitate the sound of the double bass. For latin or salsa tunes and rock-
infused jazz fusion tunes, the electric bass may play rapid, syncopated rhythmic figures in
coordination with the drummer, or lay down a low, heavy groove.
In a jazz setting, the electric bass tends to have much a much more expansive solo role
than in most popular styles. In most rock settings, the bass guitarist may only have a few
short bass breaks or brief solos during a concert. During a jazz concert, a jazz bassist may
have a number of lengthy improvised solos, which are called "blowing" in jazz parlance.
Whether a jazz bassist is comping (accompanying) or soloing, they usually aim to create a
rhythmic drive and "timefeel" that creates a sense of "swing" and "groove". For information
on notable jazz bassists, see the List of jazz bassists article.
Contemporary Classical Music
Contemporary classical music uses both the standard instruments of Western Art music
(piano, violin, double bass, etc) and newer instruments or sound producing devices,
ranging from electrically amplified instruments to tape players and radios. The electric bass
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Bass Guitar
guitar has occasionally been used in contemporary classical music (art music) since the
late 1960s. Contemporary composers often obtained unusual sounds or instrumental
timbres through the use of non-traditional (or unconventional) instruments or playing
techniques. As such, bass guitarists playing contemporary classical music may be
instructed to pluck or strum the instrument in unusual ways.
American composers using electric bass in the 1960s included experimental classical music
composer Christian Wolff (born 1934) (Electric Spring 1, 1966; Electric Spring 2,
1966/70; Electric Spring 3, 1967; and Untitled, 1996); Francis Thorne, a student of Paul
Hindemith at Yale University (born 1922), who wrote (Liebesrock 1968–69); and
Krzysztof Penderecki (Cello Concerto no. 1, 1966/67, rev. 1971/72), The Devils of
Loudun, 1969; Kosmogonia, 1970; and Partita, 1971), Louis Andriessen (Spektakel, 1970;
De Staat, 1972–76; Hoketus, 1976; De Tijd, 1980–81 and De Materie, 1984–1988).
European composers who began scoring for the bass guitar in the 1960s included Danish
composer Pelle Gudmundsen-Holmgreen (born 1932) (Symfoni på Rygmarven, 1966;
Rerepriser, 1967; and Piece by Piece, 1968); Irwin Bazelon (Churchill Downs, 1970).
In the 1970s, electric bass was used by the American conductor- composer Leonard
Bernstein (1918–1990) for his MASS, 1971). American jazz pianist Dave Brubeck used
bass guitar for his 1971 piece Truth Has Fallen. Russian and Soviet composer Alfred
Schnittke used the instrument for his Symphony no. 1, 1972. In 1977, David Amram
(born 1930) scored for electric bass in En memoria de Chano Pozo. Amram is an
American composer known for his eclectic use of jazz, ethnic and folk music.
In the 1980s and 1990s, electric bass was used in works by Hans Werner Henze (El Rey
de Harlem, 1980; and Il ritorno d'Ulisse in patria, 1981), Harold Shapero, On Green
Mountain (Chaconne after Monteverdi), 1957, orchestrated 1981; Steve Reich's Electric
Counterpoint (1987), Wolfgang Rihm (Die Eroberung von Mexico, 1987–91), Arvo Pärt
(Miserere, 1989/92), Steve Martland (many works for the Steve Martland Band), Sofia
Gubaidulina (Aus dem Stundenbuch, 1991), Giya Kancheli (Wingless, 1993), John
Adams (I Was Looking at the Ceiling and Then I Saw the Sky, 1995; and Scratchband,
1996/97), and Michael Nyman (many works for the Michael Nyman Band).

Pedagogy & Training


The pedagogy and training for the electric bass varies widely by genre and country. Rock
and pop bass has a history of pedagogy dating back to the 1950s and 1960s, when
method books were developed to help students learn the instrument. One notable method
book was Carol Kaye's How to Play the Electric Bass.
In the jazz scene, since the bass guitar takes on much of the same role as the double
bass—laying down the rhythm, and outlining the harmonic foundation—electric bass
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Bass Guitar
players have long used both bass guitar methods and jazz double bass method books. The
use of jazz double bass method books by electric bass players in jazz is facilitated in that
jazz methods tend to emphasize improvisation techniques (e.g., how to improvise walking
basslines) and rhythmic exercises rather than specific ways of holding or plucking the
instrument.
Formal Training
Of all of the genres, jazz and the mainstream commercial genres (rock, R&B, etc) have
the most established and comprehensive systems of instruction and training for electric
bass. In the jazz scene, teens can begin taking private lessons on the instrument and
performing in amateur big bands at high schools or run by the community. Young adults
who aspire to becoming professional jazz bassists or studio rock bassists can continue
their studies in a variety of formal training settings, including colleges and some
universities.
Several colleges offer electric bass training in the US. The Bass Institute of Technology
(BIT) in Los Angeles was founded in 1978, as part of the Musician's Institute. Chuck
Rainey (electric bassist for Aretha Franklin and Marvin Gaye) was BIT's first director. BIT
was one of the earliest professional training program for electric bassists. The program
teaches a range of modern styles, including funk, rock, jazz, Latin, and R&B.
The Berklee College of Music in Boston offers training for electric bass players. Electric
bass students get private lessons and there is a choice of over 270 ensembles to play in.
Specific electric bass courses include funk/fusion styles for bass; slap techniques for electric
bass; fingerstyle R&B; 5 & 6-string electric bass playing (including performing chords);
and how to read bass sheet music.[38] Berklee College alumni include Jeff Andrews, Victor
Bailey, Jeff Berlin, Dwayne Burno, Ira Coleman, Matt Garrison, Abraham Laboriel, Sr.,
Michael Manring, Wayne Pedziwater, and Neil Stubenhaus [38]. The Bass Department has
two rooms with bass amps for classes and ten private lesson studios equipped with audio
recording gear. The 2009 Chair of the Bass Department, Rich Appleman, stated that "It is
important to have a balance of traditional skills and repertoire, while staying abreast of
new changes and developments. This balance can be found in the curriculum for the four-
, five-, and six-string electric bass, the fretless bass, and acoustic bass. Students learn
concepts in Latin, funk, Motown, and hip-hop, while maintaining a foundation from
earlier styles of jazz, rock, and fusion."[38].
In Canada, the Humber College Institute of Technology & Advanced Learning offers an
Advanced Diploma (a three-year program) in jazz and commercial music. The program
accepts performers who play bass, guitar, keyboard, drums, melody instruments (e.g., sax,
flute, violin) and who sing. Students get private lessons and perform in 40 student
ensembles.[39]

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Bass Guitar
Although there are far fewer university programs that offer electric bass instruction in jazz
and popular music, there are some universities which offer Bachelor's degrees (B.Mus.)
and Master of Music (M.Mus.) degrees in jazz performance or "commercial music", in
which electric bass can be the main instrument. In the US, the Manhattan School of
Music has a jazz program leading to B.Mus. and M.Mus degrees which accepts students
who play bass (double bass and electric bass), guitar, piano, drums, and melody
instruments (e.g., sax, trumpet, etc.).[40]
In the Australian state of Victoria, the Victorian Curriculum and Assessment Authority
has set out minimum standards for its electric bass students doing their end-of-year Solo
performance recital. To graduate, students must perform pieces and songs from a set list
that includes Baroque suite movements that were originally written for cello, 1950s
Motown tunes, 1970s fusion jazz solos, and 1980s slap bass tunes. A typical program
would include a Prelude by J.S. Bach; "Portrait of Tracy" by Jaco Pastorius;"Twisted" by
Wardell Gray and Annie Ross; "What’s Going On" by James Jamerson; Oakland Drive"
by F. Cornolia; and the funky Disco hit "Le Freak" by Chic.[41]
In addition to college and university diplomas and degrees, there are a variety of other
training programs such as jazz or funk summer camps and festivals, which give students
the opportunity to play a wide range of contemporary music, from 1970s-style jazz-rock
fusion to 2000s-style R&B.
Informal Training
In other less mainstream genres, such as hardcore punk or metal, the pedagogical systems
and training sequences are typically not formalized and institutionalized. As such, many
players learn "by ear", by copying the basslines from records and CDs, and by playing in
a number of bands. Even in non-mainstream styles, though, students may be able to take
lessons from experienced players from these styles. As well, there are a range of books,
playing methods, and, since the 1990s, instructional DVDs (e.g., on how to play metal
bass).

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