Black territory dance bands in the southwest were developing dynamic styles that often went in the direction of blues-based simplicity, using riffs in a call-response pattern to build a strong, danceable rhythm and provide a musical platform for extended solos. The rhythm-heavy tunes for dancing were called "stomps." The requirement for volume led to continued use of the sousaphone over the string bass with the larger ensembles, which dictated a more conservative approach to rhythm based on 2/4 time signatures. Meanwhile, string bass players such as Walter Page were developing their technique to the point where they could hold down the bottom end of a full-sized dance orchestra.