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A personal way to internalize bebop language on the double bass through the blues-solo playing of Paul Chambers (analysis and exercises) (2015)

Balázs Horváth
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Name: Balázs Horváth Main Subject: Jazz Double Bass Research Coach: Jarmo Hoogendijk Title of Research: A personal way to internalize bebop language on the double bass through the blues-solo playing of Paul Chambers (analysis and exercises) Research Question: How can I find better improvisational language by analyzing Paul Chambers' solos on blues tunes, and through what methods and exercises can I apply those outcomes into my own practice when playing solos on the double bass? Summary of Results: The style we call “bebop” was developed in the 1940-s in the USA. This style is the basis of all new styles in modern Jazz, and this improvisational language is the starting point to the further, more extended languages in jazz. So for all of us Jazz musicians its deeper understanding and implementing to our own playing is more than essential. I always found the way Paul Chambers plays the bebop language on the instrument amazing. It's fluent, melodic, it has a natural flow and incredible variety, and the phrasing is really full of life. Since I knew he was among the first double bass players who entirely understood and transformed the bebop language for this instrument, it was logical to find him and his playing as the key for further studies in a more detailed way. The way to the deeper understanding in jazz is by making transcriptions. I have chosen a few blues tunes that he had solos in, then some more, to see the differences and possible similarities as well. Blues tunes seemed ideal to start researching: jazz players play them in great numbers, in more tonalities than a usual standard tune. I also tried to find blues solos of him in different tonalities, for comparison, in order to see how this factor can change his playing. The result of this research is better playing in not only the blues tunes, but in all bebop or standard tunes as well for me. Even the analysis and the continuous listening to the material gave a lot of ideas. Later on the development and the practice of the exercises also helped to get closer to the language and to the practical use of the analysis. I used to record the concerts I play usually, and if I listen back my blues solo playing before I started researching it, the difference is quite clear. Biography: I was born in Budapest, Hungary. I started to learn music after secondary school, first on the electric bass, and I received my first bachelor degree in Budapest on that instrument. I also started to learn the double bass as well, and became a professional musician on this instrument. I received my second bachelor on this instrument, studying also for a year at the Conservatoire National Superieur (CNSM) in Paris. I continued my studies with Wayne Darling in Graz privately in 2010-2012. I started my master studies at the KC in The Hague in 2013 with Clemens van der Feen.
typeresearch exposition
date01/01/2015
published29/05/2015
last modified29/05/2015
statuslimited publication
share statusprivate
licenseAll rights reserved
urlhttps://www.researchcatalogue.net/view/83032/105971
published inKC Research Portal
portal issue3. Internal publication
connected toKC Research Portal


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nameresearch paper
copyrightBalázs Horváth
licenseAll rights reserved
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