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Pioneers of the Extended-Range Electric Bass Belmont University Belmont Digital Repository Composition/Recording Projects School of Music Summer 8-10-2021 Pioneers of the Extended-Range Electric Bass Owen Ananich [email protected] Follow this and additional works at: https://repository.belmont.edu/music_comp Part of the Composition Commons Recommended Citation Ananich, Owen, "Pioneers of the Extended-Range Electric Bass" (2021). Composition/Recording Projects. 4. https://repository.belmont.edu/music_comp/4 This Thesis is brought to you for free and open access by the School of Music at Belmont Digital Repository. It has been accepted for inclusion in Composition/Recording Projects by an authorized administrator of Belmont Digital Repository. For more information, please contact [email protected]. MASTER OF MUSIC CULMINATING DOCUMENT: PIONEERS OF THE EXTENDED-RANGE ELECTRIC BASS By OWEN ANANICH A PRODUCTION PAPER Submitted in partial fulfillment of the requirements for the degree of Master of Music in Commercial Performance in the School of Music of the College of Visual and Performing Arts Belmont University NASHVILLE, TENNESSEE August 2021 Submitted by Owen Thomas Ananich in partial fulfillment of the requirements for the degree of Master of Music in Commercial Performance. Accepted on behalf of the Graduate Faculty of the School of Music by the Mentoring Committee: 7/5/2021 ______________________________ Date Roy Vogt, M.M. Major Mentor ______________________________ Paulo Oliveira, D.M.A. Second Mentor ______________________________ Bruce Dudley, D.M.A. Third Mentor ___________ ______________________________ Date8/9/2021 Kathryn Paradise, M.M. Assistant Director, School of Music ii Contents Examples ..............................................................................................................................v Introduction ..........................................................................................................................1 Chapter One: A History of the Electric Bass (1930-1970) ..................................................3 Paul Tutmarc ..................................................................................................................3 Early Manufactured Electric Basses ..............................................................................4 Leo Fender .....................................................................................................................6 Electric Basses Throughout the 1950s-70s ....................................................................8 Early Extended-Range Concepts .................................................................................11 Chapter Two: Extended-Range Electric Basses (1971-1988) ...........................................13 Important Luthiers .......................................................................................................13 The Thompson Six-String Bass ...................................................................................16 The Alembic Five-String Bass .....................................................................................18 The Smith Six-String Bass ...........................................................................................20 The Fodera Six-String Bass .........................................................................................22 Chapter Three: Important Figures of Extended-Range Bass .............................................24 Anthony Jackson: Analysis of “Tropical Butterfly” by Masaru Imada .......................24 Anthony Jackson: Analysis of “If It’s Magic” by Michele Hendricks ........................28 Jimmy Johnson: Analysis of “View From Seventh Heaven” by Film & the BB’s .....32 Jimmy Johnson: Analysis of “Thunder And Birdies” by Flim & The BB’s ...............36 John Patitucci: Analysis of “Got A Match?” by Chick Corea Elektric Band ..............40 John Patitucci: Analysis of “Searching, Finding” by John Patitucci ...........................47 Chapter Four: The Recording Methodology ......................................................................51 Drum Tracking .............................................................................................................52 MIDI Tracking .............................................................................................................63 Saxophone and Vocal Tracking ...................................................................................70 Electric and Acoustic Guitar Tracking ........................................................................74 Bass Guitar Tracking ...................................................................................................77 Appendices .........................................................................................................................86 Appendix A: “Tropical Butterfly” Lead Sheet Transcription ......................................86 Appendix B: “Tropical Butterfly” Bass Solo Transcription ........................................87 Appendix C: “Tropical Butterfly” Bass Comping Transcription ................................88 Appendix D: “If It’s Magic” Accompaniment Transcription ......................................90 Appendix E: “Thunder And Birdies” Lead Sheet Transcription .................................93 Appendix F: “Thunder And Birdies” Bass Solo Transcription ...................................97 Appendix G: “View From Seventh Heaven” Lead Sheet Transcription .....................99 Appendix H: “View From Seventh Heaven” Bass Solo Transcription .....................103 Appendix I: “Got A Match?” Lead Sheet Transcription ...........................................104 Appendix J: “Got A Match?” Bass Solo Transcription .............................................105 iii Appendix K: “Got A Match?” Walking Bass Transcription .....................................108 Appendix L: “Searching, Finding” Lead Sheet Transcription ...................................114 Appendix M: “Searching, Finding” Bass Solo Transcription ....................................116 Appendix N: “Searching, Finding” Walking Bass Transcription ..............................118 Appendix O: Anthony Jackson Interview ..................................................................121 Appendix P: Jimmy Johnson Interview .....................................................................126 Appendix Q: John Patitucci Interview .......................................................................131 References ........................................................................................................................150 iv Examples 3.1. “Tropical Butterfly Figure 1: Guitar Solo” measures 1-4 ...........................................26 3.2. “Tropical Butterfly Figure 1: Guitar Solo” measures 5-8 ...........................................26 3.3. “Tropical Butterfly Figure 1: Guitar Solo” measure 16 ..............................................27 3.4. “Tropical Butterfly Figure 2: Synth Solo” measures 1-8 ............................................28 3.5. “If It’s Magic” measures 1-7.......................................................................................29 3.6. “If It’s Magic” measures 8-16.....................................................................................30 3.7. “If It’s Magic” measures 30-34...................................................................................31 3.8. “View From Seventh Heaven” measures 13-20 .........................................................33 3.9. “View From Seventh Heaven” measures 21-28 .........................................................34 3.10. “View From Seventh Heaven” measures 29-35 .......................................................35 3.11. “View From Seventh Heaven Bass Solo” measures 29-37 ......................................36 3.12. “Thunder And Birdies” measures 6-13 .....................................................................37 3.13. “Thunder And Birdies” measures 22-36 ...................................................................38 3.14. “Thunder And Birdies” measures 110-117 ...............................................................40 3.15. “Got A Match? Figure 1” measures 1-16 .................................................................42 3.16. “Got A Match? Figure 2” measures 53-56 ...............................................................43 3.17. “Got A Match? Figure 2” measures 77-80 ...............................................................43 3.18. “Got A Match? Figure 4” measures 122-129 ...........................................................46 3.19. “Searching, Finding” measures 1-8 ..........................................................................48 3.20. “Searching, Finding” measures 17-22 ......................................................................49 v Introduction Entering the world in the 1930s as thunderously as the tones it produces, the modern electric bass guitar provided a multitude of compliments to any composition. The electric bass guitar is extremely versatile and can add harmony, melody, groove, rhythm, and emotion to any musical work. With these concepts in mind, bassists take on the crucial role of not just an extension of the low end, but also of becoming the foundation upon which the ensemble is built. This combination of sonic notational applications mixed with the percussive rhythmic aspects of articulation is the main reason that bassist act as the glue of ensembles. When the low end of the sonic spectrum is
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