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Arhythm section is a group ofmusicians within amusic ensemble orband that provides the underlyingrhythm,harmony andpulse of the accompaniment, providing a rhythmic and harmonic reference and "beat" for the rest of the band.The rhythm section is often contrasted with the roles of other musicians in the band, such as thelead guitarist orlead vocals whose primary job is to carry themelody.
The core elements of the rhythm section are usually thedrum kit andbass. The drums and bass provide the basic pulse andgroove of a song.The section is augmented by other instruments such askeyboard instruments andguitars that are used to play thechord progression upon which thesong is based.The bass instrument (eitherdouble bass, orelectric bass guitar, or another low-register instrument such as thesynth bass, depending on the group and its style of music) plays the low-pitchedbassline. The bassline is a musical part that supports thechord progression, typically by playing a musically interesting bassline that outlines the important notes of the harmony, often by emphasizing the root, fifth, and third of each chord.
The term is common in modernsmall musical ensembles, such as bands that playjazz,[1]country,blues, androck.Orchestras that playpopular music,film soundtracks (often called a "pops orchestra"), ormusical theatre orchestras may also feature a rhythm section (at a minimum drum kit and electric bass/amplified double bass, but possibly including keyboards and guitar) that performs with the larger ensemble. The rhythm section provides a rock or pop feel and sounds that would be difficult to recreate with orchestral instruments.
A typical rhythm section comprises one or moreguitars (eitherelectric guitars, inrock music bands;acoustic guitars, incountry music,folk music andblues or both electric and acoustic in some bands); and/or akeyboard instrument (piano,electric piano,Hammond organ,synthesizer, etc.) adouble bass, anacoustic bass guitar, or anelectric bass guitar (depending on the style of music), anddrums (usually acoustic, but in some post-1980s styles, the drums may beelectronic drums).[1]
In some styles of music, there may be additionalpercussionists playing instruments such as thedjembe orshakers. Some styles of music often have two electric guitarists, such as rock genres likeheavy metal music andpunk rock. Some styles of music use multiple keyboard instrument performers simultaneously (e.g.,piano andHammond organ orelectric piano andsynthesizer) for a fuller sound.A rhythm section could be as small as two or three instruments (e.g., a guitarist and a bassist or apower trio of bass, drums and guitar) or it may be a fairly large ensemble with several keyboardists, several guitarists, auxiliary string players (mandolin,ukulele, etc.), a drummer and percussionists.
The largest rhythm sections may be led by abandleader or aconductor who indicates thetempo of each song, starts each song, leadsslow-downs of the music atcadences (sections of songs where the music comes to rest on a chord), and indicates when to change soloists and how and when the song will end.
The instrumentalists used in a rhythm section vary according to the style of music and era. Modern pop, rock and jazz band rhythm sections typically consist of a drummer, a bass player, and one or more players of chordal instruments (e.g., a pianist, guitarist, etc.).[2] The termrhythm section may also refer to theinstruments in this group (named collectively the "rhythm section instruments").
Klezmer bands rarely have percussion, but rely heavily on a bass instrument, often brass, and a piano or accordion.Traditional dance music bands from Central and Eastern Europe often build their rhythm section around adouble bass andviola - the musician designated with the German term "Bratscher".
Inmusic industry parlance, the amplifiers and some of the instruments are nicknamed the "backline." Backline instruments are commonly provided for bands atmusic festivals and other concerts where several bands will play during an event.By providing these backline instruments, the changeover process is quickened when new bands take the stage.The backline typically includes large and heavy items that are hard to transport, including largebass amplifiers andguitar amplifiers and theirspeaker cabinets, thedrum kit (usually minus thecymbals and thesnare drum, which each drummer brings from home), aHammond organ,stage piano, and akeyboard amplifier.
Even when a venue or festival provides a backline amplification, musicians must still supply some instruments themselves, such as guitars, an electric bass, and in some cases the cymbals and/or the snare drum.The venue informs musicians about which instruments are supplied as the backline for a specific concert or stage and in many cases, thecontract signed by the band and the venue/promoter contains an explicit list of the backline gear that will be on stage, even specifying brand names and model numbers.
In modern rock music, arhythm guitarist specializes in rhythmic and chordal playing (as opposed to the melodicguitar solos and lead melody lines played by thelead guitar), often repeatingquaver (eighth-note), half note or whole notechords. In the louder genres, such ashard rock,heavy metal, andpunk rock, rhythm guitarists often playpower chords withdistortion. Rhythm guitarists often strumopen chords in pop, rock, country, and folk music and playbarre chords in many pop and rock styles.
Although rhythm sections spend much of the time providingaccompaniment (backing parts) forsongs, in some cases they provide other musical roles. In some songs or styles of music, instruments from the rhythm section may play soloistic roles on occasion (e.g.,improvised guitar solos orsolo breaks) or play a melodic role (e.g., a rhythm guitarist may play a lyricalcountermelody behind a singer or a melodic intro line before the lead vocalist starts to sing). Since rhythm sections generally provide the background music for lead instruments and solo singers, rhythm sections are typically not as prominent as a singer or soloist. However, since rhythm sections provide the underpinning for a good performance by the lead instruments and vocalists, good rhythm sections are valued in themusic industry. Some of the most accomplished rhythm sections have become famous, such asThe Band, theE Street Band andSly Dunbar andRobbie Shakespeare (the latter inreggae). In some popular bands, all of the band members, including rhythm section members, have become famous as individuals (e.g., the rhythm section members ofThe Beatles,The Rolling Stones,The Who, etc.).
In almost all genres ofpopular music andtraditional music that use rhythm sections, ranging from rock to country to jazz, the rhythm section members are expected to be able toimprovise (make up) their parts or prepare their own parts for a given song by listening to the CD at home. Once the bassist and chord-playing instruments are provided with thechord progression on alead sheet (in which chords are typically named using the root note of the chord and its quality; e.g., C Major, d minor, G7, etc.), they are expected to be able to improvise or prepare abass line and chordvoicings, respectively, that suit the style of the song.
In each style of music, there are different musical approaches and styles that rhythm section members are expected to use. For example, in a country music song the guitarist will be expected to be able to perform a chord progression using an intricatefingerpicking style; in a heavy metal song, the guitarist will be expected to playpower chords and complex, precise rhythmic patterns; in ajazz song, a guitarist will be expected to be able to play "jazz voicings" of the chords, which emphasize the third, seventh and often the sixth or ninth chord tones (this contrasts with thebarre chord voicings used in pop and rock, which emphasize the root, fifth, and to a lesser degree, the third of the chord). Drummers and percussionists are expected to be able to improvise or prepare rhythm parts that suit the style of a given song. In some cases, anarranger,orchestrator orcomposer will provide a written-out bass part or drum part written inmusic notation (the five-line staff in which the notes are round symbols with or without stems). It is rare in jazz or rock for chords to be written out in music notation; the arranger or songwriter typically writes the chord symbol and expects the guitarist to improvise the appropriate chord voicing.
Rhythm section members may be expected to singbackup vocals orharmony parts in some styles of music. In some styles of music, notably 2010s-era pop,hip hop music and funk, rhythm section members may be required to perform a rhythmic dance routine, which may range from a simple body movement to a complexdance choreography that requires significant dance skills. In some types ofheavy metal music, rhythm section members (guitar, bass, drums) may be expected to be able to"headbang" (move their head in an up and down fashion in time with the beat) while performing. Less commonly, some rhythm section members may singlead vocals (e.g.,Phil Collins orSting). In some groups, one rhythm section member may have other roles, such asbandleader (e.g., jazz bassistCharles Mingus),conductor (often the case in 2010s-era musical theatre shows),songwriter,composer orarranger.
In the case ofswing bands, the classic rhythm section comprises a quartet ofelectric guitar,piano,double bass, anddrums; a noted example is that of theCount Basie Orchestra withFreddie Green,the Count,Walter Page, andJo Jones. Earlier jazz bands had usedbanjo in place of guitar, and other bass instruments such as thetuba forrecording purposes prior to the advent ofmicrophone technology in studios.
Asbebop evolved, smaller jazz groups dropped the guitar, and manyfree jazz ensembles dropped the piano as well. Auxiliarypercussion such asclaves,bongos ormaracas can also be used, especially in music influenced by strains fromLatin America such assalsa andsamba. In theory any instrument or instruments can provide a steady rhythm: for example, in the trio led byJimmy Giuffre the late 1950s, theclarinet,valve trombone andguitar all switched between lead and supporting roles.
In the 1950s, some jazz bandleaders began to replace the double bass with the then-newly invented electric bass. However, the electric bass made a big impact on jazz in the 1970s, with the advent of jazz rock andjazz fusion. Theelectric bass was much easier to amplify to stadium-filling volumes using largebass speaker cabinets and amplifiers than an upright bass. The electric bass also began to be used as an expressive solo instrument, as exemplified by the performances ofJaco Pastorius andStanley Clarke.
In the 1970s, the main chordal rhythm instruments were often electric instruments such as theRhodes electric piano or electric clavinet, often run througheffects units such as fuzz, phasers, or wah-wah pedals and amplified through loudkeyboard amplifiers. The jazz fusion rhythm section followed the lead of the rock rhythm sections of the era, and used banks of speakers and powerfulamplifiers to create a massive sound large enough for stadium concerts. In the later 1980s and subsequent decades, jazz fusion bands such as theChick Corea Elektric Band usedsynthesizers in the rhythm section, both for chordalaccompaniment and forsynth bass parts.
R&B androck and roll groups in the 1950s emphasized rhythm, so theirbackup bands generally consisted only of the standard swing band rhythm section of guitar, piano, bass, and drums supporting avocalist, and in some cases omitting the keyboards. Thebass guitar took over from the double bass in the 1950s, and had almost completely taken over the bass role in the 1960s. As the 1960s progressed the term "rhythm section" as used in a pop music context sometimes came to refer to just the bass and drums. For example,Paul McCartney andRingo Starr of theBeatles were referred to as the band's rhythm section.
In the 1970s,chordal instruments such as the electric and/or acoustic guitar and variouskeyboards (piano,electric piano,Hammond organ,clavinet) continued to be used to augment the bass and drums insoul,funk, andreggae groups. The sound of late 1960s and 1970s rhythm sections was often given a unique tone and sound due to the use ofeffects units. Funk bass players would play throughauto-wah orenvelope follower pedals. Reggae guitarists would plug into echo pedals. Rock guitarists would run their electric guitars through distortion andwah pedals. Electric piano or clavinet players also used effects.
In the 1980s, many rock and pop bands continued to be based around the basic rock rhythm section established by 1960s and 1970s bands: electric bass, drums, and electric guitar or keyboards. In the 1980s, the first widely-affordable digitalsynthesizer,Yamaha'sDX7, was released. The distinctiveFM synthesis tone of the DX7 is a key part of the sound of many 1980s pop and dance singles.
As electronic effects became more sophisticated, with the development ofdigital signal processing, during the 1980s, there was some crossover between the roles played by electronic keyboards and electric guitar. Even though electronic keyboards or organs were the standard instruments used to create sustained "pads" of sound (e.g., held backing chords) for ballads, with the introduction of digital delay pedals and other modern effects, electric guitars could produce similar "pads" or "walls of sound".The Edge, the guitarist from the rock bandU2, often used digital delay and reverb-drenched electric guitar arpeggios (chords played one note after the other) to create a shimmering, sustained "pad" for the group. These arpeggio pads created a sustained sound that was similar to the sound of an electronic keyboard. By the late 1980s, the price of digital effects pedals dropped, making these effects units available to the general public.
During the 1980s era, rhythm sections in some styles of pop took an increasing turn towardselectronic instruments. A 1980s-era dance pop band might be backed up by a rhythm section of asynth bass,electronic drums (ordrum machine) and varioussynthesizer keyboards. In some 1980s and 1990s bands, live human rhythm sections were sometimes replaced bysequencedMIDI synthesizer rhythm tracks made in the studio. In the 1980s and 1990s, theroots rock scene went in the opposite direction from dance pop; roots rock favoured traditional instruments in the rhythm section such as acoustic piano, acoustic guitar,mandolin,pedal steel guitar,acoustic bass guitar andupright bass. Another 1980s-era trend that helped revive interest in acoustic instruments was the "MTV Unplugged" style of performances, in which a rock band performs with acoustic instruments, including acoustic guitars and anacoustic bass guitar.
In rock and pop, rhythm sections range in size from the barest, stripped-down size of the "power trio" (guitarist, bassist, and drummer) and theorgan trio (Hammond organist, drummer, and a third instrument) to large rhythm sections with several stringed instrument players (mandolin, acoustic guitar, electric guitar, etc.), multiple keyboard players (e.g., piano, Hammond organ, electric piano, synth), two instruments playing a bass role (e.g., bass guitar and synth bass) and a group of auxiliary percussionists (congas, shakers, etc.) to fill out (or "sweeten") the sound. Some rhythm sections combine electronic/digital instruments that are sequenced, pre-recordedbackup tracks and live instruments (including electric, electronic and acoustic instruments).
The drums and bass both supply a rhythmicpulse for the music, and the bass instrument supplies aharmonic foundation with abassline. The types of basslines performed by the bass guitarist vary widely from one style of music to another. Despite all of the differences in the styles of bassline in most styles of popular music, the bass guitarist fulfills a similar role: anchoring the harmonic framework (often by emphasizing the roots of the chord progression) and laying down the beat (in collaboration with the drummer). The importance of the bass guitarist and the bass line varies in different styles of music. In some pop styles, such as 1980s-era pop and musical theater, the bass sometimes plays a relatively simple part, and the music forefronts the vocals and melody instruments. In contrast, inreggae or funk, entire songs may be centered around the bass groove, and the bassline is very prominent in the mix.
Similarly, the role of the drummer varies a great deal from one style of music to another. In some types of music, such as traditional 1950s-style country music, the drummer has a rudimentary "timekeeping" role, and the drums are placed low in the mix by the sound engineers. In styles such asprogressive rock,metal, andjazz fusion, the drummers often perform complex, challenging parts, and the drums may be given a prominent placement in the mix; as well, the drummer may be often given prominent solo breaks, fills, or introductions that put the spotlight on their technical skills and musicality. In the more experimental forms offree jazz and jazz fusion, the drummer may not play the strict "timekeeping" role that is associated with drums in pop music. Instead, the drums may be used more to create textured polyrhythmic soundscapes. In this type of situation, the main pulse is often provided by the bass player rather than the drummer.
The rhythm section members sometimes break out of their accompaniment role when they are asked to perform keyboard solos,bass breaks, or drum solos. In genres such asprogressive rock,art rock, orprogressive metal, the rhythm section members may play complicated parts along with thelead guitar (or vocalist) and perform extended solos. Injazz groups andjazz fusion bands, the rhythm section members are often called on to performimprovised solos. In jazz, the drummer may "trade" short solo sections with asaxophone player or trumpet player; this practice, nicknamed "trading fours", typically involves the drummer and the horn player alternating four bar solo sections during a jazz tune. They can also trade eights, twos, ones, or other numbers depending on the musical context.
Inorgan trios, the loweroctaves of aHammond organ orelectronic keyboard are used as a substitute for bass guitar or double bass. The organist can play the bassline using the basspedal keyboard or using the lower manual. As well, the organist could play right-hand chords and melodies. Organ trios were a widely used type of jazz ensemble in the 1950s and 1960s to playhard bop.
Organ trios are sometimes used in rock as well.The Doors'keyboardistRay Manzarek used akeyboard bass to play the bass lines. Manzarek, guitaristRobby Krieger, and drummerJohn Densmore would act as an organ trio with the addition of singerJim Morrison.
New Orleans orDixieland jazz bands occasionally usetuba, sousaphone, or bass saxophone in place of thedouble bass that was common in 1920s-era jazz bands. This tradition developed from the origins of New Orleans music in marching bands, which used instruments that could be carried on harnesses or with straps. Marching bands use a mixture of brass, woodwind, and percussion instruments, because all of these instruments can be played while marching.
Not all rhythm sections follow the standard model of drummer-bassist-chordal instrument. Some bands have no drummer. In bands without a drummer, one or more instruments from the rhythm section often play in styles that replace the drum kit role—that is laying down the beat andbackbeat. Traditional bluegrass bands typically do not have a drummer. In bluegrass bands, the timekeeping role is shared between several instruments: the upright bass generally plays the on-beats while the mandolin playschop chords on the off-beats, with the banjo also keeping a steady eighth note rhythm.
This distributed nature allows for rhythmic continuity while players take turns highlighting the melody. In funk-oriented groups that do not have a drummer, the electric bass player may take over some of the drummer's role by using slap bass. With slap bass, the bassist slaps the low strings to create a strong "thump" (similar to the bass drum's role) and "snaps" or "pops" the high strings to create a percussive effect (the latter takes over some of the role played by the hi-hat cymbals). In some bands, there may be no bass player—the basslines may be played by the piano player, synth player, or guitarist. Using a guitar player to provide basslines is particularly effective if a guitar player has a seven-string guitar with a low "B" string.
Some jazz duos consist of asingeraccompanied by a single piano player. In these duos, thejazz piano player has a challenging task; they have to provide all of the rhythmic and harmonic foundation that would normally be provided by a full rhythm section. A jazz pianist accompanying a singer in a duo needs to play a deepbassline,chords, andfill-in melody lines while the singer is performing. The pianist oftenimprovises an instrumental solo in between vocal melodies.
Rarely, a jazz vocalist may perform in a duo with a double bass player. In this duo setting, the bass player may have to use less commonly-used bass techniques to fill out the sound, such as occasionally playing two or three-note double stops (to recreate the chord-playing role normally filled by a guitar or piano) or using percussive slaps on the fingerboard (to recreate some of the percussive elements provided by a drummer). The Canadian bassistMichel Donato has performed in a duo with singerKaren Young, and the pair released several albums in the 1980s and 1990s.
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