Editing Funk (section)

===Instruments===
====Bass guitar====
[[File:Bootsy Collins-04.jpg|thumb|left|200px|Bootsy Collins performing in 1996 with a star-shaped bass]]
Funk creates an intense [[Groove (popular music)|groove]] by using strong guitar riffs and [[bassline]]s 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,<ref>{{cite book|last = Archard|first = Chuck |title = Building Bass Lines|publisher = Alfred Music Publishing|date = 1998|isbn = 9780882849218}}</ref> with the bass playing the "hook" of the song.<ref name=Boomer25>Boomer, Tim; Berry, Mick. ''The Bassist's Bible: How to Play Every Bass Style from Afro-Cuban to Zydeco''. See Sharp Press, Jul. 1, 2009. p. 25</ref> 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.<ref>Boomer, Tim; Berry, Mick. ''The Bassist's Bible: How to Play Every Bass Style from Afro-Cuban to Zydeco''. See Sharp Press, Jul. 1, 2009. p. 22</ref> Later funk basslines use sixteenth note syncopation, blues scales, and repetitive patterns, often with leaps of an octave or a larger interval.<ref name=Boomer25/>
[[File:Funky Slap Bass line.ogg|thumb|right|200px|This funky bassline includes percussive slapping, rhythmic ghost notes, and glissando effects.]]
Funk basslines emphasize repetitive patterns, locked-in grooves, continuous playing, and [[Slapping (music)|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 (band)|Chic]]), [[Robert "Kool" Bell]], Mark Adams ([[Slave (band)|Slave]]), Johnny Flippin ([[Fatback Band|Fatback]])<ref>{{Cite web|url=https://www.allmusic.com/artist/johnny-flippin-mn0001326101|title=Johnny Flippin &#124; Credits|website=[[AllMusic]]|accessdate=February 25, 2021}}</ref> and [[Bootsy Collins]].<ref name=Overthrow>Overthrow, David. ''Complete Electric Bass Method: Mastering Electric Bass''. Alfred Music</ref> 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.<ref name=Overthrow/> [[Larry Graham]] from [[Sly and the Family Stone]] is an influential bassist.<ref name=Dickens>Dickens, Bill "the Buddha"; Rock, Bobby. ''Funk Bass and Beyond''. Alfred Music Publishing, 2003</ref>

Funk bass has an "earthy, percussive kind of feel", in part due to the use of muted, rhythmic [[ghost note]]s<ref name=Dickens/> (also called "dead notes").<ref name=Overthrow/> Some funk bass players use electronic [[effects unit]]s to alter the tone of their instrument, such as "envelope filters" (an [[auto-wah]] effect that creates a "gooey, slurpy, quacky, and syrupy" sound)<ref>{{cite web |url=https://www.premierguitar.com/articles/how-to-funk-up-your-bass-1 |title=How to Funk Up Your Bass |last=Berkowitz |first=Dan |date=14 January 2008 |website=premierguitar.com |publisher=Premier Guitar |access-date=9 April 2019 }}</ref> and imitate keyboard synthesizer bass tones<ref>{{cite web |url=https://www.dummies.com/art-center/music/bass-guitar/effects-pedals-for-your-bass-guitar/ |title=Effects Pedals for Your Bass Guitar |last=Pfeiffer |first=Patrick |website=dummies.com |publisher=Dummies |access-date=9 April 2019 }}</ref> (e.g., the [[Mutron]] envelope filter)<ref name=Boomer25/> and overdriven [[fuzz bass]] effects, which are used to create the "classic fuzz tone that sounds like old school Funk records".<ref>{{cite web |url=https://www.guitarinteractivemagazine.com/issues/issue-50/reviews/electro-harmonix-bass-blogger-bass-metaphors-and-bass-micro-synthesizer/ |title=Electro-Harmonix Bass Blogger, Bass Metaphors and Bass Micro Synthesizer |last=Veall |first=Dan |work=Guitar Interactive Magazine |access-date=9 April 2019 |archive-date=August 1, 2020 |archive-url=https://web.archive.org/web/20200801000238/https://www.guitarinteractivemagazine.com/issues/issue-50/reviews/electro-harmonix-bass-blogger-bass-metaphors-and-bass-micro-synthesizer/ |url-status=dead }}</ref> Other effects that are used include the [[flanger]] and [[bass chorus]].<ref name=Boomer25/> Collins also used a [[Mu-Tron#Mu-tron Octave Divider|Mu-Tron Octave Divider]], an octave pedal that, like the Octavia pedal popularized by [[Jimi Hendrix|Hendrix]], can double a note an octave above and below to create a "futuristic and fat low-end sound".<ref name="dearcangelis1">{{cite web |url=https://reverb.com/ca/news/the-essential-gear-of-parliament-slash-funkadelic |title=The Essential Gear of Parliament/Funkadelic |last=DeArcangelis |first=Christopher |date=6 January 2017 |website=reverb.com |publisher=Reverb |access-date=4 May 2019 }}</ref>

====Drums====
Funk drumming creates a groove by emphasizing the drummer's "feel and emotion", which including "occasional tempo fluctuations", the use of [[Swing music|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 [[fill (music)|fills]] (as they can lessen the groove).<ref name=Schlueter>{{cite web |url=https://reverb.com/ca/news/10-old-school-funk-grooves-every-drummer-should-know |title=10 Old School Funk Grooves Every Drummer Should Know |last=Schlueter |first=Brad |date=13 May 2016 |website=reverb.com |publisher=Reverb |access-date=9 April 2019 }}</ref> Drum fills are "few and economical", to ensure that the drumming stays "in the pocket", with a steady tempo and groove.<ref>Burns, Roy; Farris, Joey. ''Studio Funk Drumming: A Professional Workbook''. Alfred Music, 1981. p. 6</ref> These playing techniques are supplemented by a set-up for the drum kit that often includes muffled [[bass drum]]s and toms and tightly tuned snare drums.<ref name=Schlueter/> [[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.<ref name=Schlueter/>
[[File:Cissy Strut drum groove.jpg|thumb|right|300px|The drum groove from "[[Cissy Strut]]"]]

James Brown used two drummers such as Clyde Stubblefield and John 'Jabo' Starks in recording and soul shows.<ref name="autogenerated53">Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 53</ref> By using two drummers, the JB band was able to maintain a "solid syncopated" rhythmic sound, which contributed to the band's distinctive "Funky Drummer" rhythm.<ref name="autogenerated53"/>

In [[Tower of Power]] drummer [[David Garibaldi (musician)|David Garibaldi]]'s playing, there are many [[ghost note]]s and [[rim shot]]s.<ref name=Schlueter/> A key part of the funk drumming style is using the hi-hat, with opening and closing the hi-hats during playing (to create "splash" accent effects) being an important approach.<ref>Burns, Roy; Farris, Joey. ''Studio Funk Drumming: A Professional Workbook''. Alfred Music, 1981. pp. 5–6</ref> Two-handed sixteenth notes on the hi-hats, sometimes with a degree of swing feel, is used in funk.<ref name=Schlueter/>

Jim Payne states that funk drumming uses a "wide-open" approach to improvisation around rhythmic ideas from Latin music, [[ostinato]]s, that are repeated "with only slight variations", an approach which he says causes the "mesmerizing" nature of funk.<ref name="autogenerated7">Payne, Jim. ''Complete Funk Drumming Book''. Mel Bay Publications, Feb. 9, 2011. p. 7-8</ref> Payne states that funk can be thought of as "rock played in a more syncopated manner", particularly with the bass drum, which plays syncopated eighth-note and sixteenth-note patterns that were innovated by drummer Clive Williams (with [[Joe Tex]]); [[George Brown (musician)|George Brown]] (with [[Kool & the Gang]]) and James "Diamond" Williams (with [[The Ohio Players]]).<ref>Payne, Jim. ''Complete Funk Drumming Book''. Mel Bay Publications, Feb. 9, 2011. p. 8</ref> As with rock, the snare provides [[backbeat]]s in most funk (albeit with additional soft ghost notes).<ref name="autogenerated7"/>

====Electric guitar====
In funk, guitarists often mix playing chords of a short duration (nicknamed "stabs") with faster rhythms and riffs.<ref name=Learn254/> Guitarists playing rhythmic parts often play sixteenth notes, including with percussive ghost notes.<ref name=Learn254/> Chord extensions are favored, such as ninth chords.<ref name=Learn254/> Typically, funk uses "two interlocking [electric] guitar parts", with a [[rhythm guitar]]ist and a "tenor guitarist" who plays single notes. The two guitarists trade off their lines to create a "[[Call and response (music)|call-and-response]], intertwined pocket."<ref name=Bortnick>{{cite web |url=https://www.premierguitar.com/articles/Rhythm_Rules_Call_and_Response_Funk_Guitar |title=Rhythm Rules: Call-and-Response Funk Guitar |last=Bortnick |first=Avi |date=12 March 2013 |website=premierguitar.com |publisher=Premier Guitar |access-date=13 April 2019 }}</ref> If a band only has one guitarist, this effect may be recreated by [[overdubbing]] in the studio, or, in a live show, by having a single guitarist play both parts, to the degree that this is possible.<ref name=Bortnick/>

In funk bands, guitarists typically play in a percussive style, using a style of picking called the "chank" or "chicken scratch",  in which the guitar strings are pressed lightly against the [[fingerboard]] and then quickly released just enough to get a muted "scratching" sound that is produced by rapid rhythmic strumming of the opposite hand near the [[Bridge (instrument)|bridge]].<ref>{{cite news|url=https://www.musical-u.com/learn/the-funky-ones-what-makes-funk-guitar-what-it-is/|title=The Funky Ones — What Makes Funk Guitar What It Is - Musical U|date=August 15, 2016|newspaper=Musical U|access-date=October 24, 2018}}</ref> Early examples of that technique used on rhythm and blues are heard on the [[Johnny Otis]] song "[[Willie and the Hand Jive]]" in 1957, with future James Brown band guitar player [[Jimmy Nolen]]. The technique can be broken down into three approaches: the "chika", the "chank" and the "choke". With the "chika" comes a muted sound of strings being hit against the fingerboard; "chank" is a staccato attack done by releasing the chord with the fretting hand after strumming it; and "choking" generally uses all the strings being strummed and heavily muted.<ref name=Gress/> 
[[File:NileRodgers2012.png|thumb|left|200px|Guitarist [[Nile Rodgers]] is best known for his performances with [[Chic (band)|Chic]].]]

The result of these factors was a rhythm guitar sound that seemed to float somewhere between the low-end thump of the [[Bass guitar|electric bass]] and the cutting tone of the [[Snare drum|snare]] and [[hi-hat]]s, with a rhythmically melodic feel that fell deep in the pocket. Guitarist [[Jimmy Nolen]], longtime guitarist for James Brown, developed this technique. On Brown's "[[Give It Up or Turnit a Loose]]" (1969), however, Jimmy Nolen's guitar part has a bare bones tonal structure. The pattern of attack-points is the emphasis, not the pattern of pitches. The guitar is used the way that an African drum, or idiophone would be used. Nolen created a "clean, trebly tone" by using "hollow-body [[jazz guitar]]s with single-coil P-90 pickups" plugged into a [[Fender Twin]] Reverb amp with the mid turned down low and the treble turned up high.<ref name="bogdal1">{{cite web |url=https://www.stringjoy.com/funk-guitar-history-techniques-gear/  |title=Funk Guitar: The History, Techniques and Gear Behind the Groove |last=Bogdal |first=John |date=20 July 2017 |website=stringjoy.com|publisher=StringJoy |access-date=19 April 2019 }}</ref>

Funk guitarists playing rhythm guitar generally avoid [[distortion (music)|distortion]] effects and amp overdrive to get a clean sound, and given the importance of a crisp, high sound, [[Fender Stratocaster]]s and [[Fender Telecaster|Telecasters]] were widely used for their cutting treble tone.<ref name="bogdal1"/> The mids are often cut by guitarists to help the guitar sound different from the [[horn section]], keyboards and other instruments.<ref name="bogdal1"/> Given the focus on providing a rhythmic groove, and the lack of emphasis on instrumental guitar melodies and [[guitar solo]]s, sustain is not sought out by funk rhythm guitarists.<ref name="bogdal1"/> Funk rhythm guitarists use [[Dynamic range compression|compressor]] volume-control effects to enhance the sound of muted notes, which boosts the "clucking" sound and adds "percussive excitement to funk rhythms" (an approach used by [[Nile Rodgers]]).<ref>{{cite web |url=https://www.guitarplayer.com/technique/licks-tricks-and-riffs-for-a-variety-of-effects |title=Licks, Tricks and Riffs for a Variety of Effects |last=Kolb |first=Tom |date=20 March 2019 |website=guitarplayer.com |publisher=Guitar Player |access-date=19 April 2019 |archive-date=April 19, 2019 |archive-url=https://web.archive.org/web/20190419234724/https://www.guitarplayer.com/technique/licks-tricks-and-riffs-for-a-variety-of-effects |url-status=dead }}</ref>

Guitarist [[Eddie Hazel]] from [[Funkadelic]] is notable for his solo improvisation (particularly for the solo on "[[Maggot Brain]]") and guitar riffs, the tone of which was shaped by a [[Maestro FZ-1 Fuzz-Tone]] pedal.<ref name="dearcangelis1"/> Hazel, along with guitarist [[Ernie Isley]] of [[the Isley Brothers]], was influenced by [[Jimi Hendrix]]'s improvised, wah-wah infused solos. Ernie Isley was tutored at an early age by Hendrix, when Hendrix was a part of the Isley Brothers backing band and temporarily lived in the Isleys' household. Funk guitarists use the [[Wah-wah pedal|wah-wah]] sound effect along with muting the notes to create a percussive sound for their guitar riffs. The [[phaser (effect)|phaser]] effect is often used in funk and R&B guitar playing for its filter sweeping sound effect, an example being the [[Isley Brothers]]' song "[[Who's That Lady]]".<ref>{{cite web |url=https://flypaper.soundfly.com/play/guitar-pedal-tone/ |title=Finding Your Ideal Guitar Tone: Guitar Pedals |last=Anbar   |first=Elyadeen|date=10 October 2015 |website=flypaper.soundfly.com |publisher=Flypaper |access-date=19 April 2015 }}</ref> [[Michael Hampton]], another P-Funk guitarist, was able to play Hazel's virtuosic solo on "Maggot Brain", using a solo approach that added in string bends and Hendrix-style [[feedback (music)|feedback]].<ref name="dearcangelis1"/>

====Keyboards====
[[File:Isaac hayes 1973.jpg|thumb|right|170px|[[Isaac Hayes]] playing keyboards in 1973]]
A range of keyboard instruments are used in funk. Acoustic piano is used in funk, including in "September" by [[Earth Wind & Fire]] and "[[Will It Go Round in Circles]]" by [[Billy Preston]]. The electric piano is used on songs such as [[Herbie Hancock]]'s "Chameleon" (a [[Fender Rhodes]]) and "Mercy, Mercy, Mercy" by [[Joe Zawinul]] (a [[Wurlitzer]]). The [[clavinet]] is used for its percussive tone, and it can be heard in songs such as [[Stevie Wonder]]'s "[[Superstition (song)|Superstition]]" and "[[Higher Ground (Stevie Wonder song)|Higher Ground]]" and Bill Withers' "[[Use Me (Bill Withers song)|Use Me]]". The [[Hammond B-3 organ]] is used in funk, in songs such as "Cissy Strut" by [[The Meters]] and "Love the One You're With" (with Aretha Franklin singing and Billy Preston on keyboards).

[[Bernie Worrell]]'s range of keyboards from his recordings with [[Parliament Funkadelic]] demonstrate the wide range of keyboards used in funk, as they include the Hammond organ ("Funky Woman", "Hit It and Quit It", "Wars of Armageddon"); [[Rocky Mount Instruments|RMI electric piano]] ("I Wanna Know If It's Good to You?", "[[Free Your Mind... and Your Ass Will Follow|Free Your Mind]]", "Loose Booty"); acoustic piano ("Funky Dollar Bill", "Jimmy's Got a Little Bit of Bitch in Him"); clavinet ("Joyful Process", "Up for the Down Stroke", "Red Hot Mama"); [[Minimoog]] synthesizer ("Atmosphere", "[[Flash Light (song)|Flash Light]]", "Aqua Boogie", "Knee Deep", "Let's Take It to the Stage"); and ARP string ensemble synth ("[[Chocolate City (album)|Chocolate City]]", "[[Give Up the Funk (Tear the Roof off the Sucker)]]", "Undisco Kidd").

Synthesizers were used in funk both to add to the deep sound of the electric bass, or even to replace the electric bass altogether in some songs.<ref name="autogenerated51">Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 51</ref> Funk synthesizer bass, most often a [[Minimoog]], was used because it could create layered sounds and new electronic tones that were not feasible on electric bass.<ref name="autogenerated51"/>