Interesting but it makes a constant assumption that the bass player will only play the root. Using more than one instrument to build a chord...that'd be orchestration wouldn't it.
Cheers rayc "What's so funny about peace, love & understanding?" - N.Lowe
Interesting but it makes a constant assumption that the bass player will only play the root. Using more than one instrument to build a chord...that'd be orchestration wouldn't it.
In fact, most of the time he's playing the root (and 7th) in the left hand so his own local bass player is playing the root.
It's fairly usual in jazz to presume that the bass player will play the root and you're right, of course, that (s)he may well not be, though if anyone but the bass player is soloing, the bass player probably will be playing the root most of the time.
FWIW, I personally think, with jazz standards at least, that playing rootless occasionally is fine. Other's may disagree.
Nice video, clearly put apart from some early ambiguities between "C seven" and "C major seven).
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FWIW, I personally think, with jazz standards at least, that playing rootless occasionally is fine. Other's may disagree.
I definitely would agree. The Bass generally creates cohesion by delivering fundamental structure. Exacerbating into alternatives is often very useful, provides color and dimension, but (unless it's Ray Brown), it's not always necessary to the foundation of the song structure.
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Interesting but it makes a constant assumption that the bass player will only play the root …
… I personally think, with jazz standards at least, that playing rootless occasionally is fine…
Eat your roots and vegetables.
Then there’s this. Rootless (atonal) music by Arnold Schoenberg as interpreted by BIAB from a MIDI file, straight out of the box. It took me around a minute to make this, it’s listenable for at least that long.
I'll wager that the BiaB version is less challenging than the original. :-)
I have some atonal/free stuff. Some days I love it; Some days I just have to make it stop.
Jazz relative beginner, starting at a much older age than was helpful. Kawai MP6, Korg M50, Ui24R, Saffire Pro 40. AVL:MXE Linux; Windows 11; Win8.1: Scarletts BIAB2022 UltraPAK, Reaper, a bunch of stuff.
FWIW, I personally think, with jazz standards at least, that playing rootless occasionally is fine. Other's may disagree.
Exacerbating into alternatives
As a bass player, principally, I understand the orchestration of a song from a support level...to the extent that I really dislike lead bass players like "Jaco" Pastorius but I equally dislike being "required" to play the root note. If someone is improvizing chord voices in a song then it'd be difficult for the bass player to opt for anything other than the root I suppose. I did laugh when I read "exacerbate"...perhaps it fits a jazz setting - "to make something bad worse". Jazz rules are jazz rules in a form of music that likes no rules while imposing strict rules I suppose. Play what works for the song - the ONE RULE that RINGS them ALL.
Cheers rayc "What's so funny about peace, love & understanding?" - N.Lowe
This is such a wondeful subject. There’s these two things that I’ve come to think about bass lines and bass players. It rings true for me, but might not for you… nevertheless.
1. No one plays roots like a bass player. When guitarists, pianists, saxophone players lay down the roots, they do just that: the root on the first beat. It gets boring really fast. Bass players can play roots in the sweetest possible way: approaching it from above or below, chromatically or diatonically. Embellishing it with phrasing, vibrato, adding fifths, sevenths… even when they are playing “simple”, players like Ron Carter, Patitucci, McBride or Peacock can convey lots of emotion “only playing roots.”
2. What bass players consider “the root” is sometimes far removed from the written chord changes. Bassists listen to the melody and the harmony. Sometimes they opt to use a different root than written. Or using tritone substitution or alternative turnarounds. I seldom hear a bass player play I-VI-II-V even if this is what the charts say. They prefer I-bIII-II-bII or they go! I-bVII-bVI-V or bII And they have a lot of other turnarounds at their disposal.
Ever tried to play a tune (without analyzing) written by a bass player, like 3Views of a secret or Goodbye Porkpie Hat or Wisteria (George Mraz)? The changes are really hard for harmony players, but sound great and bass players hear the harmony.
Bass players know which root suits the melody and harmony best. And it just might not be the root that soloists or accompanists are thinking of.
An example that really blew my mind was the bass part Harvie Swartz plays on Body and Soul (Steve Kuhn ballads). I struggle to understand it, but it is just so beautiful. And the piano is not limited by it in any way. It just helps to add color to the tune. In the first A he sticks to the written chords, but already by the second A Harwie Swartz is imposing his own roots and hopefully you’ll hear the solo and the ending melody, it will blow you away.
Biab, Kontakt, Sampletank and lots of nice libraries, from Fluffy audio to Abbey Road drums. Check out these great contemporary Jazz Styles: www.jazzstylezz.com
User Video: Next-Level AI Music Editing with ACE Studio and Band-in-a-Box®
The Bob Doyle Media YouTube channel is known for demonstrating how you can creatively incorporate AI into your projects - from your song projects to avatar building to face swapping, and more!
His latest video, Next-Level AI Music Editing with ACE Studio and Band-in-a-Box, he explains in detail how you can use the Melodist feature in Band-in-a-Box with ACE Studio. Follow along as he goes from "nothing" to "something" with his Band-in-a-Box MIDI Melodist track, using ACE Studio to turn it into a vocal track (or tracks, you'll see) by adding lyrics for those notes that will trigger some amazing AI vocals!
Wir waren fleißig und haben über 50 neue Funktionen und eine erstaunliche Sammlung neuer Inhalte hinzugefügt, darunter 222 RealTracks, neue RealStyles, MIDI SuperTracks, Instrumental Studies, "Songs with Vocals" Artist Performance Sets, abspielbare RealTracks Set 3, abspielbare RealDrums Set 2, zwei neue Sets von "RealDrums Stems", XPro Styles PAK 6, Xtra Styles PAK 17 und mehr!
Add updated printing options, enhanced tracks settings, smoother use of MGU and SGU (BB files) within PowerTracks, and more with the latest PowerTracks Pro Audio 2024 update!
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Handy flash drive tip: Always try plugging in a USB device the wrong way first? If your flash drive (or other USB plug) doesn't have a symbol to indicate which way is up, look for the side with a seam on the metal connector (it only has a line across one side) - that's the side that either faces down or to the left, depending on your port placement.
Update your Band-in-a-Box® 2024 for Windows® Today!
Update your Band-in-a-Box® 2024 for Windows for free with build 1111!
With this update, there's more control when saving images from the Print Preview window, we've added defaults to the MultiPicker for sorting and font size, updated printing options, updated RealTracks and other content, and addressed user-reported issues with the StylePicker, MIDI Soloists, key signature changes, and more!
A few excerpts:
"The Tracks view is possibly the single most powerful addition in 2024 and opens up a new way to edit and generate accompaniments. Combined with the new MultiPicker Library Window, it makes BIAB nearly perfect as an 'intelligent' composer/arranger program."
"MIDI SuperTracks partial generation showing six variations – each time the section is generated it can be instantly auditioned, re-generated or backed out to a previous generation – and you can do this with any track type. This is MAJOR! This takes musical experimentation and honing an arrangement to a new level, and faster than ever."
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