Chris Squire Bass Transcription - Future Times/Rejoice (update)
DISCLAIMER: I own none of this, sound/images, whatever. All royalties and monies where they are due, etc. Sibelius is the scoring program, everything else the most basic of image manipulation Updated for better transitions. PDF available at https://drive.google.com/file/d/1DR5w0ep-ZWvAevx4Wifq68pSq_PYTLGh/view?usp=sharing If those crotchets seem a bit slow, I've halved the note values and uploaded a pdf here: https://drive.google.com/file/d/1eGveLdW3Ljyw4dji91w4QOWwuCqThgzB/view?usp=sharing The audio track is Miguel Falcão’s cover at https://www.youtube.com/watch?v=rnwWLGfSLog. If you don’t know his work, Miguel’s phenomenal: he can hear what actual string Chris is playing on. I can’t spare the time to TAB this, so head on over or visit http://miguelbass.com and be amazed. The Mutron effect means that the attack on even the shortest notes is huge. Watch for half-played notes (Miguel/Chris articulating behind the bridge!) There is a second bass that plays some big sustain, and even a bass pedal, but I’ve just covered the primary line (except in one or two places) The tempo is pretty fast, but it does feel like a crotchet rather than a quaver count, so 3/4 rather than 3/8. While Chris is often playing a dotted feel, Alan resolutely holds the crotchet counts. I probably haven’t shown ALL the glissandos, but if you move to a new position then you can let the string sound as you do. In ‘Rejoice’ quite a few notes or passages are a kind of semi- (rather than strict) staccato, which I’ve chosen to read as just ‘non-legato’; therefore the shown phrasing/slurs are a compromise between the overall musical feel and whether to play legato or not. In-bar phrasing is sometimes shown by beam groupings. My classical theory means I don’t like to score a dotted note on the second beat of the bar, but I’ve gone with it anyway in a few places. There’s a little inconsistency around multi-repeat bars – I’m not sure I like them anyway, because you end up having to count a strange number, like 9, when really it’s about feel. Anyone think that final Rick chord sounds like the start of “I’m Not In Love” ? 3:35 – there's an invisible crotchet so the glissando arrives on beat 2 of the bar 3:38 - 3:46 (and later, similar, 6:08 - 6:16) – I use time sigs to show phrasing, and this works best for me, though the band count is more like 3/4 + 3/4 + 4/4 + 5/4 + 3/4 + 3/4. I’ve scored G♭ rather than F♯ because the chord sequence goes into a flat rather than sharp temperament, but tbh the accidentals in this are all over the place. 4:16– I think that D should be two quavers instead of one crotchet 5:32 that C♯ and B ♮ feel odd to me, but Chris gonna do Chris
DISCLAIMER: I own none of this, sound/images, whatever. All royalties and monies where they are due, etc. Sibelius is the scoring program, everything else the most basic of image manipulation Updated for better transitions. PDF available at https://drive.google.com/file/d/1DR5w0ep-ZWvAevx4Wifq68pSq_PYTLGh/view?usp=sharing If those crotchets seem a bit slow, I've halved the note values and uploaded a pdf here: https://drive.google.com/file/d/1eGveLdW3Ljyw4dji91w4QOWwuCqThgzB/view?usp=sharing The audio track is Miguel Falcão’s cover at https://www.youtube.com/watch?v=rnwWLGfSLog. If you don’t know his work, Miguel’s phenomenal: he can hear what actual string Chris is playing on. I can’t spare the time to TAB this, so head on over or visit http://miguelbass.com and be amazed. The Mutron effect means that the attack on even the shortest notes is huge. Watch for half-played notes (Miguel/Chris articulating behind the bridge!) There is a second bass that plays some big sustain, and even a bass pedal, but I’ve just covered the primary line (except in one or two places) The tempo is pretty fast, but it does feel like a crotchet rather than a quaver count, so 3/4 rather than 3/8. While Chris is often playing a dotted feel, Alan resolutely holds the crotchet counts. I probably haven’t shown ALL the glissandos, but if you move to a new position then you can let the string sound as you do. In ‘Rejoice’ quite a few notes or passages are a kind of semi- (rather than strict) staccato, which I’ve chosen to read as just ‘non-legato’; therefore the shown phrasing/slurs are a compromise between the overall musical feel and whether to play legato or not. In-bar phrasing is sometimes shown by beam groupings. My classical theory means I don’t like to score a dotted note on the second beat of the bar, but I’ve gone with it anyway in a few places. There’s a little inconsistency around multi-repeat bars – I’m not sure I like them anyway, because you end up having to count a strange number, like 9, when really it’s about feel. Anyone think that final Rick chord sounds like the start of “I’m Not In Love” ? 3:35 – there's an invisible crotchet so the glissando arrives on beat 2 of the bar 3:38 - 3:46 (and later, similar, 6:08 - 6:16) – I use time sigs to show phrasing, and this works best for me, though the band count is more like 3/4 + 3/4 + 4/4 + 5/4 + 3/4 + 3/4. I’ve scored G♭ rather than F♯ because the chord sequence goes into a flat rather than sharp temperament, but tbh the accidentals in this are all over the place. 4:16– I think that D should be two quavers instead of one crotchet 5:32 that C♯ and B ♮ feel odd to me, but Chris gonna do Chris