The Personalisation of Technique for Jazz Bass: The Creation of a Method for Personal Stylistic Development for the Jazz Bassist

Abstract

In today’s jazz education practice, the imitation of others is regarded as an effective way to learn the instrument. During the early stages, the development of a vocabulary of prefabricated structures, such as melodic cells and ‘licks’, as well as transcribing and performing other artists’ improvisations, are essential stepping stones in learning how to perform and understand jazz in its stylistic variants. But, jazz writers and critics have raised concerns that learning by imitation and approximation produces too many musicians who lack individuality in their playing style and sound. It seems that imitation and approximation methods can take a serious music student only so far. Several of the most influential, well-established methodologies, discussed in this exegesis, can assist a student with the development of his personal sound. However, additional guidance may be needed to develop the student’s personal playing style and unique voice on the instrument. This exegesis introduces, trials and reflects on a new method for developing a personalised technique on jazz double bass that aims to retain or amplify existing, unique features in the researcher’s own playing style. Chapter One begins with a brief overview of the history of jazz bass performance and the development of the role of the bassist in a jazz ensemble. It surveys the controversial area of the development of personal style and continues with a review of existing bass method books. This is followed by a brief analysis of the playing styles of a number of leading bassists. Chapters Two, Three and Four document the researcher’s practical trial process in which three personal playing features, whose origins can be traced to earlier training on electric bass, are identified and developed in three separate stages. Each of these stages is subdivided into development of exercises, practice period and reintegration into a musical context via improvisation, jazz arrangement and composition. This section reports on the systematic trialling of this method on and by the researcher over a period of approximately six years. Chapter Five summarises and evaluates the outcomes of the process. Finally, it is proposed that this method be introduced into existing postgraduate jazz studies curricula to offer an alternative development pathway for the mature bass player.