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"He introduced a descending bassline... 'a common enough progression in jazz, but unusual among folksingers.'" - Hallo friend WELCOME TO AMERICA, In the article you read this time with the title "He introduced a descending bassline... 'a common enough progression in jazz, but unusual among folksingers.'", we have prepared well for this article you read and download the information therein. hopefully fill posts Article AMERICA, Article CULTURAL, Article ECONOMIC, Article POLITICAL, Article SECURITY, Article SOCCER, Article SOCIAL, we write this you can understand. Well, happy reading.

Title : "He introduced a descending bassline... 'a common enough progression in jazz, but unusual among folksingers.'"
link : "He introduced a descending bassline... 'a common enough progression in jazz, but unusual among folksingers.'"

"He introduced a descending bassline... 'a common enough progression in jazz, but unusual among folksingers.'"

"It’s actually something you’d get a fair bit in baroque music as well, and van Ronk introducing this into the song is probably what eventually led to things like Procul Harum’s 'A Whiter Shade of Pale' ripping off Bach doing essentially the same thing. What van Ronk did was a simple trick. You play a descending scale, mostly in semitones, while holding the same chord shape which creates a lot of interesting chords. The bass line he played is basically this...  And he held an A minor shape over that bassline, giving a chord sequence Am, Am over G, Am over F#, F.... This is a trick that’s used in hundreds and hundreds of songs later in the sixties and onward — everything from 'Sunny Afternoon' by the Kinks to 'Go Now' by the Moody Blues to 'Forever' by the Beach Boys — but it was something that at this point belonged in the realms of art music and jazz more than in folk, blues, or rock and roll."

From Episode 115 of "A History of Rock Music in 500 Songs," "'House of the Rising Sun' by the Animals."

I love hearing about influences that surprise me, about songs I've known very well for over half a century. Another example of that from this podcast is from Episode 113: "'Needles and Pins' by The Searchers":

[W]hat the Searchers did was to take the riff and play it simultaneously on two electric guitars, and then added reverb. They also played the first part of the song in A, rather than the key of C which DeShannon’s version starts in, which allowed the open strings to ring out more. The result came out sounding like an electric twelve-string, and soon both they and the Beatles would be regularly using twelve-string Rickenbackers to get the same sound... 

That record is the root of jangle-pop and folk-rock. That combination of jangling, reverb-heavy, trebly guitars and Everly Brothers inspired harmonies is one that leads directly to the Byrds, Love, Big Star, Tom Petty, REM, the Smiths, and the Bangles, among many others. While the Beatles were overall obviously the more influential group by a long way, “Needles and Pins” has a reasonable claim to be the most influential single track from the Merseybeat era.

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"It’s actually something you’d get a fair bit in baroque music as well, and van Ronk introducing this into the song is probably what eventually led to things like Procul Harum’s 'A Whiter Shade of Pale' ripping off Bach doing essentially the same thing. What van Ronk did was a simple trick. You play a descending scale, mostly in semitones, while holding the same chord shape which creates a lot of interesting chords. The bass line he played is basically this...  And he held an A minor shape over that bassline, giving a chord sequence Am, Am over G, Am over F#, F.... This is a trick that’s used in hundreds and hundreds of songs later in the sixties and onward — everything from 'Sunny Afternoon' by the Kinks to 'Go Now' by the Moody Blues to 'Forever' by the Beach Boys — but it was something that at this point belonged in the realms of art music and jazz more than in folk, blues, or rock and roll."

From Episode 115 of "A History of Rock Music in 500 Songs," "'House of the Rising Sun' by the Animals."

I love hearing about influences that surprise me, about songs I've known very well for over half a century. Another example of that from this podcast is from Episode 113: "'Needles and Pins' by The Searchers":

[W]hat the Searchers did was to take the riff and play it simultaneously on two electric guitars, and then added reverb. They also played the first part of the song in A, rather than the key of C which DeShannon’s version starts in, which allowed the open strings to ring out more. The result came out sounding like an electric twelve-string, and soon both they and the Beatles would be regularly using twelve-string Rickenbackers to get the same sound... 

That record is the root of jangle-pop and folk-rock. That combination of jangling, reverb-heavy, trebly guitars and Everly Brothers inspired harmonies is one that leads directly to the Byrds, Love, Big Star, Tom Petty, REM, the Smiths, and the Bangles, among many others. While the Beatles were overall obviously the more influential group by a long way, “Needles and Pins” has a reasonable claim to be the most influential single track from the Merseybeat era.

Thus articles "He introduced a descending bassline... 'a common enough progression in jazz, but unusual among folksingers.'"

that is all articles "He introduced a descending bassline... 'a common enough progression in jazz, but unusual among folksingers.'" This time, hopefully can provide benefits to all of you. Okay, see you in another article posting.

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