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From the Weather Report album 'Night Passage' From the Pat Metheny album 'Bright Size Life' From the Christian McBride album 'Vertical Vision' From the Christian McBride album 'Live at The Tonic. From the Christian McBride album 'Number Two Express' Lead sheet. From the Christian McBride album 'Live at The Tonic. From the Matthew Garrison album 'Matthew Garrison' From the Matthew Garrison album 'Shapeshifter' From the Mike Stern DVD 'Live at the New Morning'

From The Dave Weckl album 'Perpetual Motion' From The Dave Weckl album 'Perpetual Motion'Ĭhild's Play. From the Hadrien Feraud album 'Hadrien Feraud' From the Billy Cobham/George Duke Band album 'Live.

BASS GUITAR TRANSCRIPTIONS DOWNLOAD

As a thank you for visiting this page, please feel free to download and get to shedding. I added a little compression and a EQ boost around 150hz and 1khz.Transcriptions Here are some transcriptions I have done over the years.

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I recorded this on my Epiphone Jack Casady signature bass (with the pickup set to 250hz) straight into Logic Pro X via my Mbox 2 (No DI). Also, have fun reading the ledger lines in the chorus! The song’s in C so all that Cmajor pentatonic practise will pay off. It’s worth listening carefully to the drums in this tune as a lot of the bass fills are locked right in with drums.

BASS GUITAR TRANSCRIPTIONS FULL

A noteworthy feature of this line is that it doesn’t require the use of the E string, at all! John was of the few players that could play right up the neck and still have a full round bottom end. However I feel the general groove is more a 4/4 with a little swing. The bass part is triplet heavy, so much so that it could be written in 12/8. This is note for note as played on the record (including John’s cheeky overdub at bar 78). Queen bass transcriptions are few and far between online and are usually pretty inaccurate so I decided to do my own. So much so that I decided to learn a few of them. The first thing that struck me was John Deacon’s inventive and lyrical bass lines. I recently bought Queen’s Greatest Hits 1+2 on CD for the car. I recorded direct into my mbox2 into logic and added a little compression and an eq bump at 200hz. This was recorded on my 50s reissue Fender Precision bass with ’62 reissue pickups. Take your time and make sure you have the semi-quaver rhythms nailed and try not to rush. I would grab the high G# on the G string (1st Fret) and then play this in 2nd position (first finger on the second fret).Īlmost everything else in the song in based around the box shape or basic octaves. The penatonic riff in bar 4 is repeated at the end of verse phrases throughout. It’s in the key of E major and mainly stays within key excluding the D9 chord in bars 19, 33, and 61.įor the line in bar 2, 10 etc I play use a standard pentatonic shape starting on the open E string then slide from the F# (D string 4th fret) onto the G# ending in 4th position) The line is mostly based on pentatonic and and box shape patterns but it’s the rhythmic aspect and development that makes this one interesting. It features a great and well developed bass line by the late Louis Johnson. When Quincy Jones was approached to record it for Michael he had no idea it was originally written for him. It was originally written by Paul McCartney for Michael but ended up being recorded by Wings instead. This is one of Michael Jackson’s lesser hits from the ‘Off The Wall’ album. I recorded direct into my mbox2 into Logic and added a little compression and an eq bump at 200hz and 1340hz. This was recorded on my 50s reissue Fender Precision bass strung with Ernie Ball Slinky Flatwounds with a ’62 reissue pickup and a foam mute under the strings at the bridge. Everyone I’ve seen plays it differently so have fun figuring out the best way for you, or watch the video and use my fingerings 🙂 Not much more to say on this one, I’m mostly playing standard major scale shapes (2nd finger on root) or box shapes based around the root or fifth of the chord.

The song moves through 3 keys (G Ab and A) so i hope you’ve been keeping up with your reading! It’s got a swung 16th/Semiquaver feel and Raphael plays it with his characteristic laid back intensity, “always keep the bass moving”. A bit of internet research later and I found it was none other than one of my favourite players of all time, Mr Raphael Saadiq (who also produced the album the track is from). That probing melodic bass part made my ears prick up and I had to know who played it. This song first came to my attention in the advert for Chanel’s Coco Mademoiselle perfume starring Keira Knightley.

Bass guitar transcriptions