Experimentation as a learning method: developing a path for a creative study about the harmonic potentialities of the electric bass

Organologically classified as a melodic instrument, the electric bass has tonal and ergonomic characteristics that enhance its use beyond this designation. In this perspective, an increasing number of bassists seek to use the electric bass as a harmonic instrument. However, the lack of research on this approach hinders its development beyond individual initiatives. Based on an alternative tonal concept to consolidated practice, called LCCTO (Russell, 2001) and guided by a research design structured according to the concept of Affordances (Gibson, 1977) and the Perceptual Learning theory (Gibson & Pick, 2000), this investigation adopts experimentation as a learning method for performing vertical harmonies on the electric bass. The development of this path involves, (i) the construction of a harmonic vocabulary for the instrument and (ii) the creation of musical works from this vocabulary. The result of this work intends to contribute to the construction of a new paradigm for the practice of the instrument, for the academic discussion about it and, consequently, bring pedagogical implications concerning the academic program for bassists and the teaching methodology for this harmonic content. Regarding the latter, the proposed research design, as well as the harmonic vocabulary, structured as a book, may point to an initial path for further debate. The results achieved so far point positively to the potential of using experimentation for the development of a, here called, Harmonic Approach to the Electric Bass. The experiments already concluded provided a number of 1153 chords playable on the instrument, which has been organized as a dictionary, as well as extensive material resulting from articulations (simultaneous execution) between these chords and the different scales proposed in the LCCTO. Also included in this material resulting from the experiments, are the Creative Applications, organized as musical studies, which reflect, through composition, the use of the contents already obtained.publishe

Técnicas estendidas no baixo elétrico e o jazz brasileiro: história e proposta de abordagem prática contemporânea

A busca por novas formas de expressão musical direcionou os estudos técnicos dos instrumentos musicais para a investigação de formas não convencionais de produção de som. Com o auxílio destas formas, denominadas técnicas estendidas, novas estéticas musicais podem ser desenvolvidas. Esta investigação trata da incorporação das técnicas estendidas de harmônicos e acordes nas performances no baixo elétrico, e o desenvolvimento de uma nova estética, a partir da ruptura com convenções associadas à prática do instrumento. Fundamentada na concepção de “Mundos da Arte” (Becker, 2010), é evidenciada uma atividade cooperativa realizada por baixistas que partilham o conhecimento acerca desta prática. Esta atividade se dá através de um gênero de cooperação onde, individualmente, os baixistas produzem obras análogas, que cooperam no sentido de legitimar o uso do baixo elétrico em um novo conceito performático. Uma estética musical que se expressa através do uso das técnicas estendidas, e no caso específico estudado aqui, sua emergência e consolidação no contexto do Jazz Brasileiro. Para além da transcrição e análise de fonogramas, no sentido de expor a estética discutida, este trabalho também propõe uma abordagem prática. Através da adaptação e arranjo de conteúdos musicais para o baixo elétrico, são sugeridas possibilidades de performance de composições do repertório associado ao Jazz Brasileiro. Este conteúdo performático se encontra registrado em partitura e gravação, e visa traduzir musicalmente a discussão apresentada na dissertação.The search for new forms of musical expression, directed the technical studies of musical instruments for the investigation of unconventional forms of sound production. With the aid of these forms, called extended techniques, new musical aesthetics can be developed. This research deals with the incorporation of the extended harmonic and chord techniques in electric bass performances, and the development of a new aesthetic, from the rupture with conventions associated with its practice. Based on the "Worlds of Art" conception (Becker, 2010), there is a cooperative activity performed by bassists who share knowledge about this practice. This activity takes place through a kind of cooperation where, individually, the bassists produce analogous works, which cooperate in the sense of legitimizing the use of electric bass in a new performatic concept. A musical aesthetic that is expressed through the use of extended techniques, and in the specific case studied here, its emergence and consolidation in the context of Brazilian Jazz. Besides the transcription and analysis of phonograms, in the sense of exposing the aesthetics discussed, this work also proposes a practical approach. Through the adaptation and arrangement of musical contents for the electric bass, possibilities of performance of compositions of the repertoire associated to the Brazilian Jazz are suggested. This performative content is recorded in score and recording, and aims to musically translate the discussion presented in the dissertation.Mestrado em Músic

The Electric Bass Revisited: a creative study about the harmonic potentialities of the instrument

This artistic investigation, a work in progress, aims to expand the possibilities of performance and musical creation for the electric bass by developing a proposal for its harmonic use. Organologically classified as melodic, the instrument has tonal and ergonomic characteristics that enhance its use beyond this designation. In this perspective, an increasing number of bass players are looking to use the electric bass as a harmonic instrument; however, the lack of research on this approach hinders its development. Based on an alternative tonal system to consolidated practice, called LCCTO (Russell, 2001) and guided by a research design structured according to the concept of Affordances (Gibson, 1977) and on the theory called Perceptual Learning (Gibson & Pick, 2000), the investigation seeks, through experimentation, (i) the definition of a harmonic vocabulary for the electric bass and (ii) the creation of musical works from this vocabulary. The result of this work is intended to contribute to the construction of a new paradigm for the practice of the instrument, for the academic discussion about it and, consequently, will bring pedagogical implications. The results achieved so far point positively to the potential of the electric bass for the development of a, here called, Harmonic Approach to the Electric Bass. The concluded experiments already provided a number of 1153 viable possibilities for playing chords on the instrument, which have been organized in the form of a dictionary, as well as extensive material resulting from the articulations (simultaneous execution) between these chords and the different scales proposed in the LCCTO. The material resulting from the experiments also included the “Creative Applications”, organized in the form of studies and that reflect, through composition, the musical use of the obtained contents.publishe