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Bass Transcriptions

#901
From the 1972 Trouble Man soundtrack

Marvin Gaye - Trouble Man

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#903
JimK said:
Hall and Oates "Sara Smile" was from '76. I distinctly recall this as I was a freshman in college. I remember hearing this tune on my orientation weekend. :)
Is it Ronnie Baker or Lee Sklar on this??? I always assumed Sklar...recently, I have heard Baker's name popup. :)

"She's Gone" is a stone cold Classic!
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According to Lee himself, Scott Edwards did Sara Smile:


It's a common mistake. There are articles all over the Web claiming (some boldly) that it's well known that Sklar played on Sara Smile and even Aidan Hampton incorrectly included the song in his Sklar transcription book. (I am not criticizing Aidan -- I own and love a few of his books!)
 
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#904
Seanmo said:
According to Lee himself, Scott Edwards did Sara Smile:


It's a common mistake. There are articles all over the Web claiming (some boldly) that it's well known that Sklar played on Sara Smile and even Aidan Hampton incorrectly included the song in his Sklar transcription book. (I am not criticizing Aidan -- I own and love a few of his books!)
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Finally!
RIP, Scott...
 
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#919
Dynacord said:
He's posted it (and Turn Back The Hands of Time, etc) on his Facebook page as being him... He's still alive. Just had his 77th birthday a few days ago. Bernard Reed
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I would like to ask (just to start) Bernard Reed about his use of "interesting" notes:

1. His use of A natural with E major chord, instead of diatonic A# in Measure 1, while playing A# in the same note structure in M4.
2. His use of F natural with C#min7.

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#920
Whousedtoplay said:
I would like to ask (just to start) Bernard Reed about his use of "interesting" notes:

1. His use of A natural with E major chord, instead of diatonic A# in Measure 1, while playing A# in the same note structure in M4.
2. His use of F natural with C#min7.
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1. I'm pretty sure hat's not a harmonic choice. Just an open string used to approach the next chord. Harmonically it would make sense if you look at the chords outside the context of the scale. In measure 4 you could see the A# (you wrote) as the 5 of the 7 of the chord. A# -> D#. He does that a few times.
2. Nothing more than a slide from a note in the current left hand position to approach the next chord

Looks like I'll have to double check a few notes :)
 
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