Free Bass Transcriptions

Free Bass Transcriptions

Here come the dots

Tag: jamerson

How I Transcribe

Transcription is a subject that’s very close to my heart and is something that I feel is incredibly important for developing nearly all areas of musicianship. Here’s (almost) half an…

Transcription is a subject that’s very close to my heart and is something that I feel is incredibly important for developing nearly all areas of musicianship.

Here’s (almost) half an hour of me explaining what I do, how I do it and why I do it:

Links to everything that I mention in the video are below:

How Habits Happen: 7 Ways To Maintain New Behaviours

Functional Ear Trainer App: iOS Android

Hearing and Writing Music by Ron Gorow (UK | US)

Change The Way You Hear Music

Modern Reading in 4/4 Time by Louis Bellson (UK | US)

Franz Simandl’s New Method For Double Bass (UK | US)

Dotzauer Cello Etudes (UK | US)

Standing In The Shadows of Motown: The Life and Music of Legendary Bassist James Jamerson (UK | US)

Michael League Interview with Bass Lessons Melbourne (quote is at about 17:30 onwards)

The Complete Transcription Process by David Liebman

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GOTW #26: Repetition, Repetition, Repetition

This installment of Groove Of The Week features possibly the shortest, most repetitive and least varied to date – it’s also one of the most important. One bar. Over and…

This installment of Groove Of The Week features possibly the shortest, most repetitive and least varied to date – it’s also one of the most important.

One bar. Over and over. Minimal variations. No fills. No frills.

Boring, right?

Wrong.

Consistency is the number one trait that will get you hired time and time again (punctuality and above-average personal hygiene should also be high up in your ‘skill set’). What do I mean by consistency?

Playing a line in time at the same volume and with the same articulation for 4-5 minutes without ceasing (extend this to 25 minutes if you’re playing ‘Chameleon’ at a jam night).

Sometimes the simplest things are the hardest to do well. Put down your slap licks and your string crossing exercises and challenge yourself to play James Jamerson’s sublime D major groove without deviating in any way whatsoever from the original line.

 

 

Ok, there’s ONE variation in the video. Sue me.

 

Here are the dots. The sharp-eyed (and keen-eared) among you will recognise this as THE staple ‘Motown/soul major chord’ 1-5-6 lick heard on just about every soul tune ever; ‘Keep On Running’, ‘Respect’,’Love Really Hurts Without You’, ‘Faith’, ‘What’s Going On’ (octave displacement), ‘I Want You Back’ and ‘Rescue Me’ are just a few off the top of my head.

 

GOTW Higher and Higher

 

 

This is one of Jamerson’s most famous lines that doesn’t feature any of his much lauded chromaticism. In fact, it sounds like he’s on his best behaviour. If you don’t already, rush out this instant and get a copy of the ‘Standing In The Shadows Of Motown’ book which features note-for-note transcriptions of lots of JJ’s parts and interviews with lots of amazing players on how his playing influenced them.

As a geeky aside, ‘Higher and Higher’ was recorded in Chicago by Jamerson and the other Funk Brothers while they were moonlighting from Motown – they would often drive over from Detroit and do ‘undercover’ sessions to augment their pay from Berry Gordy’s label. Not bad for something knocked up on your day off. 

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