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Transcriptions - Page 6

Bass Transcription: Michael League’s “Continuum”

Bass Transcription: Michael League’s “Continuum”

“Continuum” is one of the most well known songs for bass players, and I’d argue it is one of the greatest tunes on Jaco Pastorius’s self-titled debut album. After listening to this performance of Michael League three times in a row, I decided to transcribe his version.

Bass Transcription: Marcus Miller’s “Cee-Tee-Eye”

Bass Transcription: Marcus Miller’s “Cee-Tee-Eye”

“Cee-Tee-Eye” is from Marcus Miller’s 2012 album Renaissance, recorded to feature the new band Marcus assembled for the Tutu Revisited tour, which was a celebration of the Miles Davis album from the mid-80’s Miller contributed heavily to. The title for “Cee-Tee-Eye” is a nod to the various albums released on the CTI Records label, which were influential not only to...

Bass Transcription: Fernando Lamadrid’s “Mollete Express”

Bass Transcription: Fernando Lamadrid’s “Mollete Express”

Just as I was wondering which piece to select for this month’s transcription, along comes this killer track from super-talented bassist Fernando Lamadrid and drummer Rick Arencibia. This one has it all: harmonic-laden odd-time grooves, funky slap lines, chordal work and several jaw-dropping solos. Perfect! Download the transcription (PDF) and follow along: “Mollete Express” opens with a fingerstyle groove over...

Transcription: Jaco Pastorius’ Solo on “(Used To Be a) Cha Cha”

Transcription: Jaco Pastorius’ Solo on “(Used To Be a) Cha Cha”

Among the great tunes on Jaco Pastorius’ self-titled solo debut was “(Used to Be A) Cha-Cha”. His solo is a tricky one, at an upbeat tempo and with Jaco’s trademark melodic and syncopated lines. Here is Jukka Haavisto’s take on his wonderful solo on this track.

Bass Transcription: Tal Wilkenfeld’s “Cause We’ve Ended As Lovers” Solo

Bass Transcription: Tal Wilkenfeld’s “Cause We’ve Ended As Lovers” Solo

Tal Wilkenfeld’s fantastic solo on the Jeff Beck classic “Cause We’ve Ended As Lovers” has been watched countless times. There are several live recordings of this track, but the one transcribed here is from the Crossroads Guitar Festival in 2007.

Transcription: Viktor Lörincz’s “Boomerang”

Transcription: Viktor Lörincz’s “Boomerang”

This month’s transcription is “Boomerang”, a funk-filled slap-fest from Hungarian bassist Viktor Lörincz we originally featured back in 2011. This chops-heavy piece is a great workout for anyone looking to take their slapping and tapping skills to the next level. Download the transcription (PDF) and follow along: Viktor opens the piece with a Latin-flavored tapping part which outlines a series...

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Transcription: Periphery’s “Make Total Destroy”

Transcription: Periphery’s “Make Total Destroy”

Bass transcriptions are cool. They're even cooler when they're written by the bassist who played on the track. Adam “Nolly” Getgood shares this transcription and breakdown of his work on Periphery’s “Make Total Destroy.”

Transcription: Colin Hodgkinson’s Catcote Rag

Transcription: Colin Hodgkinson’s Catcote Rag

This month’s transcription ties in nicely with the recent feature on underrated bassist Colin Hodgkinson. Colin is a superb bass player, and very unique. During the late sixties and early seventies, he played some truly astonishing bass parts with his trio Back Door, and was even said to have been a big influence on Stanley Clarke when Back Door opened...

Transcription: Stu Hamm’s “Going to California”

Transcription: Stu Hamm’s “Going to California”

This month’s transcription is Stu Hamm’s live performance of the Led Zeppelin classic “Going to California”, which can be heard (and seen) here: You’ll need to detune your E-string to D in order to play this piece. This performance of the song opens with a chord consisting of an open low D-string and A and D harmonics played at the...

Transcription: Cliff Burton’s “Orion”

Transcription: Cliff Burton’s “Orion”

“Orion”, the classic Metallica track that features bassist Cliff Burton in a lead role, was an obvious choice for this month’s transcription. To this day – nearly thirty years after it was recorded – it’s a track that is studied and dissected by metal-loving bass players all over the world.