What is it? It’s a flanger. It, well, flanges things, you know? Flangers belong to the same family of modulation effects as chorus and phaser. The Boss BF-2 was produced…
What is it?
It’s a flanger. It, well, flanges things, you know? Flangers belong to the same family of modulation effects as chorus and phaser. The Boss BF-2 was produced by the company between 1981 and 2002, after which it was replaced by the BF-3 pedal which is still in production today.
What Does It Do?
The BF-2 creates the flanger effect by combining your original dry signal with a time-delayed copy of the signal, which is modulated by a low frequency oscillator (LFO for short). If that’s too technical, then the BF-2 is your ticket to a wonderful world of swirling, aeroplane-like sounds.
Famous bass lines that use a flanger which might serve as useful reference points include:
Tool – ‘Forty Six & 2’
Yes – ‘Tempus Fugit’
The Cure – ‘The Holy Hour’
Joe Bonamassa – ‘Had To Cry Today’
Why Would I Want One?
Because you’re in a Cure tribute band, or you grew up listening to grunge and can’t quite get that swirly guitar sound out of your head. Seriously, though, a flanger is a useful sonic colour to have at your disposal for those times when chorus is too tame and a phaser is too funky.
Connections
Standard 1/4″ jack cable input and output sockets
Power
This depends on the year of manufacture; older Boss pedals were designed to run off a 12V supply (referred to as ‘ACA’), while the newer models run off a standard 9V supply (referred to as ‘PSA’). Check the information on the pedal’s back plate to be sure – some older pedals will also have a small sticker on the top of the pedal next to the power input informing you of the need for a 12V supply. As with other Boss pedals, there’s a 9V battery compartment accessible underneath the footswitch.
Controls
The Boss BF-2 has four control knobs:
MANUAL controls the centre frequency of the flanger’s sweep; this is most noticeable when the RES knob is turned all the way up. MANUAL also acts as a fine-tuning knob, as some of the overtones produced by the pedal might not always sit nicely with the key of whatever you happen to be playing.
DEPTH affects the depth of the sweep
RATE controls how fast or slow the sweep occurs
RES is the level of resonance or feedback
It’s worth noting that the BF-2’s controls allow it to produce a wide variety of tones; reducing the resonsance and bosoting depth can result in subtle, chorus-like tones, while maxing out the resonance can generate a distinctive ring modulator sound.
Where Does It Go In My Chain?
Modulation effects traditionally sit towards the end of a pedal chain, after octaves, envelope filters and fuzz/distortion. However, there are few hard and fast rules about pedalboard sequencing, so let your ears be your guide.
How Much Does It Cost?
As with many Boss pedals, the price that you pay will vary depending on the age of the pedal and the location where it was built; older MIJ pedals will command the highest price tags, but it’s worth mentioning that the internal components of the pedal didn’t change much during it’s production lifespan, so older doesn’t always mean better (or even different).
Broadly speaking, there are two main varieties of BF-2:
1980-1990 black knobs, made in Japan 1990 – 2001 white knobs, made in Taiwan
New: N/A
Used: £40-£75
Pros
Familiar, rugged Boss enclosure
Simple, intuitive controls
Wide range of tonal possibilities
Finished in an attractive shade of mixed berry
Cons
A flanger might not be top of your tonal priorities, so this is probably one for dedicated modulation enthusiasts
What Are The Alternatives?
There are a range of flanger pedals on the market to suit most budgets:
The Boss BF-3 is the BF-2’s successor, adding additional controls and features
Imagine my excitement in discovering Joe Dart’s Berklee College of Music bass clinic on YouTube; over 100 minutes of potential wisdom and grooves to steal! Now, imagine my disappointment in…
Imagine my excitement in discovering Joe Dart’s Berklee College of Music bass clinic on YouTube; over 100 minutes of potential wisdom and grooves to steal!
Now, imagine my disappointment in discovering that the whole thing had been mixed by the drummer’s right foot. But fear not, funk bass fans, for poor audio fidelity will not stand in the way of finding out just how Joe Dart got to be so damn groovy; I sifted through Joe’s lengthy conversation with Danny Mo Morris in order to try and tease out what he did to work on his playing and what he does now to keep growing as a musician.
What follows are eight essential elements of the Joe Dart puzzle; the Tao of Dart, if you will:
DISCLAIMER: The following post contains Amazon Affiliate links; if you end up buying the product through my link, then I get a small percentage (typically 2-5% of the product price) at no extra cost to you. It’s not much, but it does afford me some new plectrums once a year…
Eight Take-Aways From Joe Dart’s Berklee Clinic
He Studied Music From A Young Age
Joe’s musical journey began early on in the form of ‘forced’ piano lessons and 5th Grade trombone playing, but the lure of the bass proved too much:
I was about 8 when I remember the bass being present. The opportunity to play a lot was there from a young age…
Music was very much a part of family life; Joe’s Grandfather – renowned session violinist Israel Baker (who, in addition to numerous other film credits, was one of the shrieking violins in Hitchcock’s famous Psycho shower scene) – would call him and test his aural skills over the phone:
I remember even as a young kid – I don’t know how old I was, maybe 7 or 8 – my grandfather used to call me and quiz me… he’d call me and be like ‘Are you near the piano?’ And he would go to his piano and play me an interval and say ‘What is that?’ and then he’d play a chord and say ‘and what’s that?’
Can you imagine what family ear training from the age of seven does for your musical development? In addition to encouragement at home, Joe studied the bass formally with teachers put him onto ‘the good stuff’ from the start and encouraged learning by ear:
I was lucky when I was a kid to meet some really great bass teachers… [who] fostered an interest in funk bass playing years before I would have found these amazing bass players that I now really consider inspirations, like James Jamerson, Verdine White, Rocco Prestia, Stevie Wonder’s left hand bass stuff… I was hearing it when I was 10 years old, 11 years old, taking lessons because [my teachers] considered that to be the definitive bass music… they sent me home with that stuff.
It wasn’t just what Joe’s teachers were making him study, but how they went about it that helped him develop. On being asked how he gained an understanding of harmony, Joe’s first response is:
…really great ear training, which was my teachers sending me home to learn stuff on my own and come back and see if I had gotten [sic] it or not…
Personal experience has taught me that learning music by ear rather than taking it in from the page results in much deeper learning – things might take longer to learn, but I remember them in more detail and their influence has a way of showing up in my playing much more readily than music that I’ve learned through notation.
Joe’s formal education continued when he studied music at The University of Michigan, where he’d meet the other members of Vulfpeck. Dart’s take on the value of music college stresses that who you know is just as important as what you know:
People will ask me ‘how important is it to go to music school? Is this the key to being a successful musician or a professional musician?’ And I don’t know whether it is or it isn’t, but I can say that for me personally it was, even if it wasn’t the degree it was a chance meeting of all of these people that went on to be my bandmates and best friends; if I hadn’t gone to University of Michigan Music School at this particular time I wouldn’t have met any of them and that made all the difference, you know, so I really do value that when I think about going to music school, going to a place like Berklee. It’s as much – if not more – about the people you meet there, the people you play with there, the connections you make than anything else; that to me is the real power of it.
Play Music, Not Exercises
The act of playing music, rather than practising exercises, seems to be at the core of Joe Dart’s musical philosophy. When asked how he warms up to play, his answer is by playing:
…Vulfpeck played some festivals this fall where it was freezing and it was very early on in the set where we played ‘It Gets Funkier’ and a few of these 16th-note, it’s-not-a-warmup type of tune, but that’s where I’ve discovered is the best way to warm up.
Playing a lot and gigging a lot seems to also be the answer as to how he maintains his level of facility on the bass:
I try to play as much as I can with as many people as I can.
Playing with good drummers helps to keep my strength and stamina up.
Great Time Comes From Strong Subdivisions
The importance of having a great sense of time comes up again and again during the clinic; more specifically, the idea of always subdividing the beat when playing is central to Joe’s concept of groove:
I do really believe in a sense of time, a sense of groove; some constant, militant subdivision. I really do consider that to be what really separates something from sounding good and really feeling good…
The drummers that I love are truly militant about the subdivision.
This belief in the power of the ‘militant subdivision’ extends to his philosophy about music education:
As a bass player [timing] is somewhat overlooked and should be more the focus of bass lessons as a kid: developing great time, subdividing and never letting fills or anything get in the way of keeping time and keeping it feeling really good, keeping it locked in with the kick drum.
Practise Grooves In Context
It transpires that Joe spent his teenage years working on his sense of time in context by always having a reference to the pulse in the form of a metronome or drum machine:
Before I had a long list of great drummers to play with, I played with a drum machine; [first] with a metronome, but – as soon as I had one that worked at all – a drum machine and a looper pedal.
I had this instructional DVD just called ‘Slap Bass’… I already had one instructional DVD that I adored, which was Flea’s with Chad, such a classic. This guy named Ed Friedland had an instructional DVD… I sort of learned to slap and learned the power of the sampler – the looper pedal – and the drum machine from Ed because he was just in a studio, just him and his bass and this little drum machine thing and this little looper pedal and he would just lay down these grooves and then solo on top of them
This method of practising seems to have given Joe a solid sense of time and groove that has helped him stay strong on stage:
When I was playing all those hours with a drum machine and then looping myself to find some cool basslines to solo on top of, I was able to develop pretty good time and groove that would serve me later when I would be playing with drummers, or when I would be playing sections of the Vulf tunes where the band drops out… If I didn’t have good time it would just fall apart.
Again, the emphasis – even when practising – is to always be making music:
I can definitely recommend spending some quality time with a drum machine as well as a great drummer if possible.
Don’t have a dedicated drum machine? There are plenty of apps available, ranging from the ‘Drummer’ function in Garageband to dedicated drum loop apps, including:
If you don’t happen to have the contact details of a host of top session drummers, then there’s also no need to despair – you can jam along with greats like Bernard Purdie and Mike Clarke for free on Spotify. I even collected everything together into one playlist available here:
Limiting Gear Makes You Focus On Your Playing
Being restricted in his options as far as gear went in the early years forced Joe to refine his playing so that he could get a halfway-decent sound out of an uncooperative instrument:
The first [bass] was a very cheap Samick bass that had extremely high action and was just extremely un-ergonomic. It was terribly difficult to play, but I think [that] helped me develop finger strength and, in a way, if I could play anything relatively musical on that then when I got to a bass that actually felt good I sounded like I could play the bass.
And eventually, after two or three years of that Samick bass, I got a Fender Jazz used in a local music shop; Mexican made, basically not an expensive Fender Jazz bass, but it was a real Fender and it was my total go-to axe, it was the only one I owned for many years. Really only in the past two or three years have I acquired a couple more basses…
Even the Musicman Joe Dart signature bass is a bare-bones, ‘single-speed funk machine’ which was modelled on Jack Stratton’s rather cheap Carlo Robelli bass (Sam Ash’s entry-level house brand of instruments) that Joe had used on earlier Vulf sessions:
[The Musicman bass] was designed after it… his Carlo Robelli bass, which had flatwound strings on it. I would mess around on it and ended up playing it on a few of the kind of disco/funk tracks of Vulf, including the first ‘It Gets Funkier’ and ‘Daddy Got a Tesla’, among others.
Jack Stratton’s Carlo Robelli Bass
So, between a handful of the basses Jack owns we started going ‘Oh, this is the cool bass for this tune, this is a cool bass for this kind of tune’and then I really fell in love with that Robelli bass that he had and eventually when Jack and I started to meet more people in the manufacturing side of the industry we met the guys at Musicman, and we said if we were ever going to design an instrument, then it would be designed after this Robelli bass that we envisioned as the ultimate funk bass, the ultimate Bernard Edwards Musicman-ish kind of thing: The ‘single-speed’ funk bass.
Don’t Overthink Your Playing, Be ‘In The Moment’
When playing – and, in particular, when improvising fills or solos – Dart is a fan of being in what he terms a ‘reactive zone’ rather than a ‘planning zone’:
If I think about it in the studio or live and I think ‘Ok, here comes this moment’ and I’ve got this fill, which I’ll catch myself doing sometimes, I’ll be playing and I think ‘I’ve got this idea’, then 100% of the time I miss it and it ends up feeling totally disjunctive, because it’s planned and you don’t nail the actual thing you were hearing… So, I do appreciate trying to get yourself in a real, true improvisational state rather than planning something… Hopefully, over time the muscle memory gets you to a place where you can react in real time.
This seems like a sensible strategy, given the band’s writing and recording process, which seems to hinge around (Vulfpeck bandleader) Jack Stratton giving musicians minimal information in advance of the sessions. Discussing the recording of ‘Hero Town’, which featured ex-Prince drummer Michael Bland, Joe said that:
I don’t think we did more than two takes… He didn’t know what we were going to play, of course, because that’s the Stratton way; keeping musicians in the dark about what’s about to happen is what Stratton does best.
Years of relentless practice and playing have prepared him for new, unfamiliar (and often daunting) musical experiences:
The reason that it can be fun and the reason that it’s magical to have these experiences where no-one knows what’s going to happen is because everyone has been preparing basically for that moment forever.
When asked about the process for learning bass-heavy tunes like ‘Dean Town’, it seems that the man isn’t afraid of a challenge:
Dean Town was by far and away the most challenging Vulf session that I’ve ever done. Woody sent me that bassline [in] MIDI… he thought ‘we haven’t done a bass feature in a couple of albums, we had done ‘Beastly’, but then we hadn’t done a bass feature in a little while. I remember spending all night the night before shedding that for the session the next day because I wanted to be able to nail it, I didn’t want to have to do a bunch of takes…
It was incredibly challenging and now playing it live with the band is as much an audience participation moment as anything… it keeps me limber.”
Fielding a question about how he alters his playing approach for recording vocal-led and instrumental tunes, Joe’s answer shows that he thinks song first, bass second:
I’m always trying to really serve the song and so that’s why when there actually is a singer live it’s much easier to do that; it’s so much easier to serve the song, because you get the arc of it and you see where they’re singing, where they’re not singing, and you see where their phrases are and you can bounce off of that and respond…
Harder to do are the songs where I think it’s an instrumental and the whole time Jack [Stratton] knows it’s not going to be an instrumental, we’re going to add lyrics later but he doesn’t tell me. So with ‘Christmas in LA’, that was just an instrumental track and then later Theo [Katzman] wrote and added vocals, and so hopefully I’m not playing out in sections where it’s a tender vocal moment. But I think when it’s an instrumental song we all can sort of see where the focal point would be… and, either way, I try to always ‘arc’ the tune. And if there’s going to be a little bass moment – a little fill, a little lick – where I step outside the hook of the bassline it’s usually that last chorus, at the very end, which I always loved when bass players would do that on pop songs…
Even when he’s soloing, he’s thinking compositionally:
[I approach writing basslines by] building something that their ear can grab and then playing off that and stepping outside of that, but you can’t really step outside without first building this fundamental song, and that’s even how I think about soloing – when I’m playing a solo a lot of the time I’m keeping time, whether the drums are there or not – you know, ghost notes, really keeping time and really building on building a figure slowly and then playing off that, playing against that.
Study The Greats, But Maintain Your Voice
One particularly insightful remark concerned the importance of acknowledging your influences, but not at the expense of developing your own sound on the bass:
Finding your voice on an instrument is something you can’t force… it’s not something you can decide to do one day. It happens very slowly and is something that hopefully, if you’re listening to enough different stuff and you find what really speaks to you hopefully it starts coming back into your playing, but not in a way that you’re just constantly quoting or copying – it’s hopefully going to blend into something which eventually becomes your voice…
Over the years, I’ve taken something from each of these bass players that really influenced me from a young age like Rocco, Verdine [White], Pino, Flea, but trying to figure out ‘what do I have to say? What really speaks to me about each of those players?’
It’s also important to dig deeply into the history of the music that you’re inspired by in order to discover who influenced your influences:
You find your own voice through learning what other voices sound like and where they’re coming from and then you check out the influences that they were checking out; that’s where Jamerson comes into things for me, because I didn’t actually realise that the people I was looking up to were looking up to Jamerson. I didn’t hear Flea and think ‘Oh, he’s doing a Jamerson thing’, I also didn’t know who Jamerson was until Flea hipped me to him, so checking out other people who have a voice and then checking out who they were checking out.
It’s not just bass players that Joe Dart took influence from when finding his voice:
And even non-bassists, I think I do really look to guitarists’ solo phrasing or saxophone or, like I said, Stevie Wonder’s playing. I think you can find inspiration for how to speak on an instrument even through many other instruments.”
Still dying for more Dart? You can check out these posts for even more head-bobbing bass action:
If there was one album that irreversibly changed the course of my bass playing at a pivotal point in my development, then it was Incognito’s Tribes, Scribes and Vibes (1992)….
If there was one album that irreversibly changed the course of my bass playing at a pivotal point in my development, then it was Incognito’s Tribes, Scribes and Vibes (1992). My first term at music college was something of a rude awakening in that I started to realise the sheer volume of things I didn’t know but really needed to; I had arrived at college unable to read, deficient in repertoire and with ears that barely functioned. In short, I had my work cut out.
One of my tutors put me on to Incognito (among other things) in order to broaden my musical horizons and I was immediately hooked. Admittedly, some of the vocal stuff was – and still is – a bit too ‘smooth’ for my tastes, but I certainly couldn’t fault the bass playing. I dutifully set about trying to steal as much as possible from every tune on the Tribes, Scribes and Vibes album, including ‘Colibri’:
‘Colibri’ is something of a homage to the humble double chromatic approach (approaching a chord tone from two consecutive semitones above or below). In fact, the root note of almost every chord is approached in this way:
There some awkward elements to the ‘Colibri’ groove (the D to F leap in bar 2 and the final trill) which bugged me for years until I learned about how the bass was recorded – or, more accurately – programmed. I had assumed that the low end had been taken care of by the very talented Randy Hope-Taylor; I knew he was great, but I couldn’t figure out how he managed to get certain intervallic jumps to sound absolutely seamless. The answer came from a Talkbass thread that confirmed that the bulk of the basslines on the album had been played on keyboards by multi-instrumentalist Richard Bull, who was able to divulge details of how he got the bass sound:
…from memory, it comes from the Bob Clearmountain Percussion & Bass Library, (a 5 string Music Man bass) specifically, the D.I. samples but only 5 of the available set; F1, C2, F2, C3 & F3. They were sampled into an Akai S950, and at the time, I was using Steinberg’s Cubase on an Atari Falcon computer. The bass was not ‘performed’ via Midi keyboard but programmed manually by mouse. Unlike today’s bass libraries, trills weren’t available, so they had to be mimicked using Pitch bend!
So, we’re hoping to imitate a keyboard that’s trying to sound like a bass. Strange, no?
If you’re unfamiliar with Randy Hope-Taylor, who did contribute a stunning bass solo on the track ‘Magnetic Ocean’ and was the subject of a previous Groove Of The Week (GOTW #39: Talkin’ Loud), you can see and hear him below talking about preamps and explaining how he wants to ‘bust some kidneys’:
The bass groove that serves as the introduction to ‘Quarter Master’ grabbed my attention the first time I heard it way back in 2012 and it’s been on my transcription…
The bass groove that serves as the introduction to ‘Quarter Master’ grabbed my attention the first time I heard it way back in 2012 and it’s been on my transcription to-do list ever since; the uptempo, New Orleans-flavoured track serves as the final cut on the band’s groundUP album that followed up on the online buzz generated by Tell Your Friends (2010) and began to propel the group into the mainstream. Well, as mainstream as fusion can be…
We’re beginning in classic funk one-chord vamp territory, with the entire opening bassline outlining a Dm7 chord. As with almost every groove in this series, the bass part is built on a ‘question and answer’ format of two contrasting phrases. In this case, one descends and the other ascends, with variations being added on each repetition:
Before we get too bogged down in the nuts and bolts of the notes that Michael League plays, let’s deal with the most important aspect of this groove: the feel. We’re in swung 16th-note territory, which can be hard to detect given the bright tempo of 124bpm; it’s important to practise the line at a slow tempo and make sure that the feeling of the swung 16th-note subdivision is firmly embedded in your playing before bringing the speed up.
The opening phrase of the line is standard bass vocabulary, and fits neatly within the well-trodden minor pentatonic box pattern that we’re all too familiar with, while the ascending ‘answer’ phrase includes the addition of the flat 5 to give the line a blues scale flavour (notation conventions regarding enharmonics mean that I’ve written the pitch as G# rather than the ‘true’ flat 5, Ab).
The second iteration of the groove provides us with a Paul Jackson-esque lick that requires some precise fretting hand control – fitting this lick in cleanly and then returning to the main groove without rushing or dragging may take some practice.
From bar 7 onwards, we’re given a new take on the opening theme, beginning on the 11th of the chord (G) and giving us an unexpected melodic contour.
The Long And The Short Of It
One important – yet subtle – detail that’s visible in the transcription from bars 7-14 is the variation of note lengths on each repetition of the bassline. In particular, the G# is alternately played short and long – this tiny detail has been planned in advance (or so it seems) as the guitar also doubles this phrasing at points in the line.
Raphael Saadiq might not be a household name in the bass community, but the bass has been at the heart of the singer and multi-instrumentalist’s diverse career from the very…
Raphael Saadiq might not be a household name in the bass community, but the bass has been at the heart of the singer and multi-instrumentalist’s diverse career from the very beginning. At the age of 18, Saadiq successfully auditioned to play bass in Sheila E’s backing band and subsequently spent two years touring with Prince; not a bad way to learn about all things groove-related.
In addition to his solo career, Raphael Saadiq has notched up an impressive resumé of production and co-writing credits with a host of big-name R&B and pop artists including D’Angelo, Whitney Houston, The Bee Gees, Erykah Badu and even Marcus Miller. His eight-bar bass contribution to Q-Tip’s ‘WeFight/WeLove’ is the subject of this week’s groove exploration:
This groove exemplifies our number one job description as bass players: being able to play the same thing over and over for four minutes while keeping everything – volume, note length, articulation, attack – consistent and making it feel good. Simple, right? I beg to differ.
Playing even a relatively straightforward line such as this with machine-like consistency and precision requires a great amount of concentration, attention to detail and, well… practice.
The ‘WeFight/WeLove’ groove is also a great opportunity to work on your pick playing, which is an unusual element to find in a hip hop bassline. Although it’s hard to say for certain, it sounds to me like the bass on the recording uses a plectrum; listen to the breakdown section of the track starting around 3:22 and notice the attack of the notes.
If you’re averse to playing with a pick because of genre-based snobbery, then I strongly urge you to spend some time with Anthony Jackson (learn ‘For The Love Of Money’ here), Bobby Vega (learn ‘I Get High On You’ here) or Steve Swallow (his melodic work on ‘Sea Journey’ and ‘Midwestern Night’s Dream’ from the Gary Burton Quintet album Passengers are good starting points).
Some readers might feel like this groove is strangely familiar – the line seems to be heavily influenced by The Jacksons’ ‘This Place Hotel’. The bass part on the recording was played by none other than Nathan Watts:
Stuart’s Second Helping We’ve already heard from Jamiroquai twice in this series (GOTW #8: ‘Whatever It Is, I Just Can’t Stop’ and GOTW #22: ‘Runaway’) and – as much as…
Stuart’s Second Helping
We’ve already heard from Jamiroquai twice in this series (GOTW #8: ‘Whatever It Is, I Just Can’t Stop’ and GOTW #22: ‘Runaway’) and – as much as I want this series to be as wide-ranging as possible – it’s fair to say that some bands have a disproportionate amount of ‘what was that?’ bass moments in their back catalogue. So, here we are with another piece of Stuart Zender’s bass legacy, taken from the band’s second album The Return of the Space Cowboy (1994).
‘Manifest Destiny’ might seem an odd choice for a Groove Of The Week post; it’s not really a groove in the traditional sense of the word, and there are plenty of other Jamiroquai tracks worth a look (‘Don’t Give Hate a Chance’, anyone?), but Stuart Zender’s bassline showcases a rare opportunity for us to present a melody in the upper register of the fretboard without venturing into bass solo territory – we’re still playing a set part and supporting the song.
The video lesson below walks through the melody and harmony of ‘Manifest Destiny’ bar-by-bar:
For those of us that spend 99% of our time below the seventh fret, where most day-to-day bass playing happens, being given a melodic spotlight moment can be daunting; the bass can feel very different in the higher register, and I find that the fretting hand has to be extra vigilant in order to sculpt every single note with the desired effect. ‘Manifest Destiny’ is also an excellent study in fretting hand articulation – the way that the notes are played holds equal importance as the notes themselves. Careful listening will help you to discern the subtle ways that Stuart Zender uses varied note lengths, slides, hammer-ons and vibrato to make the line really sing out.
The harmony of ‘Manifest Destiny’ is also a level above most pop songs; this is to be expected the clear influence of 1970s jazz-funk artists including Roy Ayers, Stevie Wonder, Lonnie Liston Smith and The Headhunters that shine through in Jamiroquai’s music. The main harmonic accompaniment to the bass melody comes from the piano, which keeps an almost consistent voicing in the right hand while the changing bass notes provide movement:
Approximated piano voicings for ‘Manifest Destiny’
The third chord voicing is worth a mention – the piano plays a chord which is essentially Bm7/E, which creates an Em11 tonality when taken into context with the G natural in the bass part at this point.
Diminishing Returns
The A# diminished 7 chord works in this context because it’s really functioning as a substitution for F#7, the dominant chord in the key of B minor. Thinking about the chord tones of A# diminished 7 in the context of F#7 gives us the major 3rd (A#), perfect 5th (C#), minor 7th (E) and flat 9th (G natural), implying an F#7b9 sound. Using this diminished substitution provides more the chord progression with more tension (and therefore more interest) than using a straightforward dominant 7th chord.
