Uploaded September 2008 | Updated September 2026, 22 minutes ago
Part 5: youtube.com/watch?v=mW_9T25Wgvg
Inversions can add forward movement. (Elton John "Goodbye Yellow Brick Road").
During the 19th century the Waltz raised the prominence of bass by introducing bass passages to link melodies, change tempos and keys. (Johann Strauss II "Roses from the South".
In the late 19c John Philip Sousa supercharged the bass in his marching band music ("The Globe and the Eagle").
This led to the "Bass Run" and the "Bass Riff" (Mancini: "Peter Gunn Theme", Pink Floyd "Money, Michael Jackson "Billie Jean").
In post war jazz the bass took a melodic role (Miles Davis' "So What").
In 60's pop James Jamerson, using the electric bass created a stream of influential bass lines which energised simple harmonies.
Wendy Carlos "Switched on Bach" caused a sensation by using Bob Moog's synthesisers to play Brandenburg Concertos. But it was in pop music that the technology had lasting impact.
Part 5: youtube.com/watch?v=mW_9T25Wgvg
Inversions can add forward movement. (Elton John "Goodbye Yellow Brick Road").
During the 19th century the Waltz raised the prominence of bass by introducing bass passages to link melodies, change tempos and keys. (Johann Strauss II "Roses from the South".
In the late 19c John Philip Sousa supercharged the bass in his marching band music ("The Globe and the Eagle").
This led to the "Bass Run" and the "Bass Riff" (Mancini: "Peter Gunn Theme", Pink Floyd "Money, Michael Jackson "Billie Jean").
In post war jazz the bass took a melodic role (Miles Davis' "So What").
In 60's pop James Jamerson, using the electric bass created a stream of influential bass lines which energised simple harmonies.
Wendy Carlos "Switched on Bach" caused a sensation by using Bob Moog's synthesisers to play Brandenburg Concertos. But it was in pop music that the technology had lasting impact.
