Assuming that you are talking about the short bass solo at 1:36 on the original recording...
Quote:
Originally Posted by Arpeggiator  its a fast lick (160bpm 16ths) it goes B C# F# F#( high octave) |
There are more (not so cleanly played) notes in that solo than plain sixteenths. Actually, you can either understand the lick this way...
...or this way:
Note that the first example is a two-measure lick in 2/2 or
cut time, running at 160
half notes per minute. The second one is a one-measure lick in 4/4, running at 160
quarter notes per minute. In both cases the sonic result is the same, but I prefer to notate it like on the first example (more on that later).
Quote:
Originally Posted by Arpeggiator im a unsure whether its tapped or picked |
It's a tapping lick: First of all, make sure that you have your fretting hand's index finger firmly pressing both the G and D strings at the fourth fret. Then...
- Hit the G string at the 11th fret with your plucking hand's middle finger (or index if you like. I prefer middle). Keep it pressing (don't release it), so the F# sounds loud and clear.
- With a slight upward movement, let that finger slip and release the G string, which is being pressed at the fourth fret by your fretting hand's index finger. You should hear a B. (Many players prefer a downward movement so the finger points to the ground and goes out of the fingerboard when tapping the first -thinnest- string. Of course it's fine if that works for them, but I've never understood the logic behind that).
- Use your fretting hand's ring finger to press the G string at the 6th fret. You should hear a C#.
- Repeat exactly the same procedure on the D string. Remember that you are barring both G and D strings with your index finger, so it shouldn't move at all.
Now, please allow me to elaborate a bit more on the rhythm notation: Again, both examples sound the same, but the second one doesn't reflect the fast-paced nature of the song. If someone insists on understanding it in 4/4 because not familiarized with 2/2, it should be written like this for him/her:
Again, the sonic result is the same and this version REALLY reflects the song's fast character, but it's unpractical to conduct the piece that way. By writing it in cut time at 160 half notes per minute instead of 4/4 at 320 quarter notes per minute, you can conduct it with half of the movements and the sense of high speed will remain (with less dense rhythmic figures). Besides, when a seasoned sight-reader sees the 2/2 time signature, it should instantly give him/her the preconception (if never heard it before) that it's something that goes
fast. So that's why the first image shows the "proper" way of notating stuff like this.
Let me know if this helps.
