This month, the transcription is dedicated to French bass virtuoso Dominique di Piazza.

I think he deserves more recognition in the bass world, ask any bassist today, Hadrien Feraud, Matthew Garrison, Adam Nitti, and many more, and they will swear that bassist Dominique di Piazza has had a profound influence on their bass playing.

His solo piece “Marie,” has opened a new door for a new generation of bass players who look for a different approach to the instrument, it’s like the “Portrait of Tracy” of the 90´s.

 

Musical Analysis

 

In the first part of the solo (A to B section in ¾), di Piazza uses a lot of diatonic material, resolving in the third of de chord as a chord tone, uses the harmonic minor scale and the 3-b9 resolution that we found in the bebop era.  For the dominant chords, he often he uses some diminished arpeggios and #9 b9 #5 as a tensions for his lines.

In the letter C (in 4/4) in the long E mixolydian section, he uses the E half step/whole step diminished scale,mixed with the E mixolydian scale. And also he plays some superimposed arpeggios over E, like Db, Bb (b9) G (b9) E (b9) all from de diminished scale a little bit like Jaco Pastorius “Opus pocus”.

Definitely, Di Piazza is one the greatest

See you in my next article.

Dominique di Piazza solo on John Mc Laughlin "Belo Horizonte"