Funk

Funk derivatives include avant-funk, an avant-garde strain of funk; boogie, a hybrid of electronic music and funk; funk metal; G-funk, a mix of gangsta rap and psychedelic funk; Timba, a form of funky Cuban dance music; and funk jam. It is also the main influence of Washington go-go, a funk subgenre.[8] Funk samples and breakbeats have been used extensively in hip hop and electronic dance music.

The word funk initially referred (and still refers) to a strong odor. It is originally derived from Latin "fumigare" (which means "to smoke") via Old French "fungiere" and, in this sense, it was first documented in English in 1620. In 1784, "funky" meaning "musty" was first documented, which, in turn, led to a sense of "earthy" that was taken up around 1900 in early jazz slang for something "deeply or strongly felt".[9][10] Even though in white culture, the term "funk" can have negative connotations of odor or being in a bad mood ("in a funk"), in African communities, the term "funk", while still linked to body odor, had the positive sense that a musician's hard-working, honest effort led to sweat, and from their "physical exertion" came an "exquisite" and "superlative" performance.[11]

Funk

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In early jam sessions, musicians would encourage one another to "get down" by telling one another, "Now, put some stank on it!" At least as early as 1907, jazz songs carried titles such as Funky. The first example is an unrecorded number by Buddy Bolden, remembered as either "Funky Butt" or "Buddy Bolden's Blues" with improvised lyrics that were, according to Donald M. Marquis, either "comical and light" or "crude and downright obscene" but, in one way or another, referring to the sweaty atmosphere at dances where Bolden's band played.[12][13] As late as the 1950s and early 1960s, when "funk" and "funky" were used increasingly in the context of jazz music, the terms still were considered indelicate and inappropriate for use in polite company. According to one source, New Orleans-born drummer Earl Palmer "was the first to use the word 'funky' to explain to other musicians that their music should be made more syncopated and danceable."[14] The style later evolved into a rather hard-driving, insistent rhythm, implying a more carnal quality. This early form of the music set the pattern for later musicians.[15] The music was identified as slow, sexy, loose, riff-oriented and danceable.[citation needed]

The meaning of "funk" continues to captivate the genre of black music, feeling, and knowledge. Recent scholarship in black studies has taken the term "funk" in its many iterations to consider the range of black movement and culture. In particular, L.H. Stallings's Funk the Erotic: Transaesthetics and Black Sexual Cultures explores these multiple meanings of "funk" as a way to theorize sexuality, culture, and western hegemony within the many locations of "funk": "street parties, drama/theater, strippers and strip clubs, pornography, and self-published fiction."[16]

Like soul, funk is based on dance music, so it has a strong "rhythmic role".[17] The sound of funk is as much based on the "spaces between the notes" as the notes that are played; as such, rests between notes are important.[18] While there are rhythmic similarities between funk and disco, funk has a "central dance beat that's slower, sexier and more syncopated than disco", and funk rhythm section musicians add more "subtextures", complexity and "personality" onto the main beat than a programmed synth-based disco ensemble.[19]

Before funk, most pop music was based on sequences of eighth notes, because the fast tempos made further subdivisions of the beat infeasible.[3] The innovation of funk was that by using slower tempos (surely influenced by the revival of blues at early 60s), funk "created space for further rhythmic subdivision, so a bar of 4/4 could now accommodate possible 16 note placements."[3] Specifically, by having the guitar and drums play in "motoring" sixteenth-note rhythms, it created the opportunity for the other instruments to play "more syncopated, broken-up style", which facilitated a move to more "liberated" basslines. Together, these "interlocking parts" created a "hypnotic" and "danceable feel".[3]

A great deal of funk is rhythmically based on a two-celled onbeat/offbeat structure, which originated in sub-Saharan African music traditions. New Orleans appropriated the bifurcated structure from the Afro-Cuban mambo and conga in the late 1940s, and made it its own.[20] New Orleans funk, as it was called, gained international acclaim largely because James Brown's rhythm section used it to great effect.[21]

Funk uses the same richly colored extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths. Some examples of chords used in funk are minor eleventh chords (e.g., F minor 11th); dominant seventh with added sharp ninth and a suspended fourth (e.g., C7 (#9) sus 4); dominant ninth chords (e.g., F9); and minor sixth chords (e.g., C minor 6).[18] The six-ninth chord is used in funk (e.g., F 6/9); it is a major chord with an added sixth and ninth.[18] In funk, minor seventh chords are more common than minor triads because minor triads were found to be too thin-sounding.[22] Some of the best known and most skillful soloists in funk have jazz backgrounds. Trombonist Fred Wesley and saxophonists Pee Wee Ellis and Maceo Parker are among the most notable musicians in the funk music genre, having worked with James Brown, George Clinton and Prince.

Unlike bebop jazz, with its complex, rapid-fire chord changes, funk virtually abandoned chord changes, creating static single chord vamps (often alternating a minor seventh chord and a related dominant seventh chord, such as A minor to D7) with melodo-harmonic movement and a complex, driving rhythmic feel. Even though some funk songs are mainly one-chord vamps, the rhythm section musicians may embellish this chord by moving it up or down a semitone or a tone to create chromatic passing chords. For example, "Play That Funky Music" (by Wild Cherry) mainly uses an E ninth chord, but it also uses F#9 and F9.[23]

The chords used in funk songs typically imply a Dorian or Mixolydian mode, as opposed to the major or natural minor tonalities of most popular music. Melodic content was derived by mixing these modes with the blues scale. In the 1970s, jazz music drew upon funk to create a new subgenre of jazz-funk, which can be heard in recordings by Miles Davis (Live-Evil, On the Corner), and Herbie Hancock (Head Hunters).

Funk continues the African musical tradition of improvisation, in that in a funk band, the group would typically "feel" when to change, by "jamming" and "grooving", even in the studio recording stage, which might only be based on the skeleton framework for each song.[24] Funk uses "collective improvisation", in which musicians at rehearsals would have what was metaphorically a musical "conversation", an approach which extended to the onstage performances.[25]

Funk creates an intense groove by using strong guitar riffs and basslines played on electric bass. Like Motown recordings, funk songs use basslines as the centerpiece of songs. Indeed, funk has been called the style in which the bassline is most prominent in the songs,[26] with the bass playing the "hook" of the song.[27] Early funk basslines used syncopation (typically syncopated eighth notes), but with the addition of more of a "driving feel" than in New Orleans funk, and they used blues scale notes along with the major third above the root.[28] Later funk basslines use sixteenth note syncopation, blues scales, and repetitive patterns, often with leaps of an octave or a larger interval.[27]

Funk basslines emphasize repetitive patterns, locked-in grooves, continuous playing, and slap and popping bass. Slapping and popping uses a mixture of thumb-slapped low notes (also called "thumped") and finger "popped" (or plucked) high notes, allowing the bass to have a drum-like rhythmic role, which became a distinctive element of funk. Notable slap and funky players include Bernard Edwards (Chic), Robert "Kool" Bell, Mark Adams (Slave), Johnny Flippin (Fatback)[29] and Bootsy Collins.[30] While slap and funky is important, some influential bassists who play funk, such as Rocco Prestia (from Tower of Power), did not use the approach, and instead used a typical fingerstyle method based on James Jamerson's Motown playing style.[30] Larry Graham from Sly and the Family Stone is an influential bassist.[31]

Funk bass has an "earthy, percussive kind of feel", in part due to the use of muted, rhythmic ghost notes[31] (also called "dead notes").[30] Some funk bass players use electronic effects units to alter the tone of their instrument, such as "envelope filters" (an auto-wah effect that creates a "gooey, slurpy, quacky, and syrupy" sound)[32] and imitate keyboard synthesizer bass tones[33] (e.g., the Mutron envelope filter)[27] and overdriven fuzz bass effects, which are used to create the "classic fuzz tone that sounds like old school Funk records".[34] Other effects that are used include the flanger and bass chorus.[27] Collins also used a Mu-Tron Octave Divider, an octave pedal that, like the Octavia pedal popularized by Hendrix, can double a note an octave above and below to create a "futuristic and fat low-end sound".[35]

Funk drumming creates a groove by emphasizing the drummer's "feel and emotion", which including "occasional tempo fluctuations", the use of swing feel in some songs (e.g., "Cissy Strut" by The Meters and "I'll Take You There" by The Staple Singers, which have a half-swung feel), and less use of fills (as they can lessen the groove).[36] Drum fills are "few and economical", to ensure that the drumming stays "in the pocket", with a steady tempo and groove.[37] These playing techniques are supplemented by a set-up for the drum kit that often includes muffled bass drums and toms and tightly tuned snare drums.[36] Double bass drumming sounds are often done by funk drummers with a single pedal, an approach which "accents the second note... [and] deadens the drumhead's resonance", which gives a short, muffled bass drum sound.[36] e24fc04721