O contrabaixo elétrico na música instrumental popular brasileira: técnicas estendidas utilizadas nas músicas No nordeste, A salsa é assim; Meu feroz cavalo marinho e Brasilidade

Abstract

In this research, we aim to work on extended techniques for the electric bass based on music inspired by popular rhythms such as salsa and, more specifically, those linked to the folklore of the Zona da Mata Norte in the state of Pernambuco. In addition to salsa, which is a genre originating from Cuban culture and has an Afro-jazz influence, the work includes Brazilian rhythms such as Cavalo Marinho, baião and maracatu. The combination of all these elements characterizes a differentiated music that, together with the extended techniques used, presents something new, which may be difficult to understand and perform for a musician who is not familiar with the details of the rhythms and techniques contained in the work. In this context, our objective is to reflect on the application of extended techniques in literature and how they manifest themselves in the music worked on in this research. We also aim to show the reader of this dissertation a way to perform them, making it clear that we do not intend to consider our musical interpretation a unique way of performing; however, we present here only one interpretative possibility that was studied and worked on throughout the development of this research. In this sense, three songs composed by the author of this dissertation were used to demonstrate how these techniques were used, namely: Meu Feroz Cavalo Marinho, No Nordeste, a Salsa é Assim and Brasilidade. The most in-depth techniques for these compositions were: double thumb, thumb-pluck, double domain and triple domain. One of the objectives is to demonstrate the concrete application of the extended techniques discussed, using clear examples of how they are used in practice. During the research, the difficulties in finding materials that refer to extended techniques for electric bass are also mentioned, which is one of the reasons that drove the development of this work. We also present a historical approach to the acoustic and electric double basses, showing details of their emergence and development, as well as the technological modifications that were added to the electric double bass over time. We also show how musical knowledge regarding the double bass was disseminated before the advent of the internet. This process took place through printed magazines that circulated widely in the musical world among double bass players. They initially came from other countries, such as Bass Player, a North American magazine. Later, the famous Brazilian magazine Cover Baixo appeared, which featured interviews and pertinent tips in its editions that were very successful in our country. This work aims to identify, through the most varied sources of information, the existence of the use of extended techniques for the electric bass. We also bring some considerations about extended techniques in general, referring to other instruments, as a way of showing readers the way other instrumentalists use them to produce sounds that are outside of those considered conventional. International and national bassists are also present as a way of showing those who stood out as soloists and took our instrument to another level, freeing it from its important mission as an accompanying instrument and elevating it to the status of soloist.