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Discussion in 'Technique [BG]' started by kaleel2g, Mar 9, 2022.
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On a scale of 1-10
Nice line, really nice feel. Mostly easy enough there's some fast fills that would give me trouble. Really good groove though, thanks,
MAybe 5-6 out of 10 difficulty. Just my take on it.
What's a 10 to you?
with a pick or with fingers?
YYZ by Rush, for example. Just about anything by MonoNeon. I tend toward rock, so the names in my Pantheon include Jack Casady, Jack Bruce, John Entwhistle, Tim Bogart, and so on.
Here's a bassline by Bruce Thomas that's pretty darn hard, especially picking with fingers like he does:
I think the challenge with a piece like this is feeling. And they're probably just making it all up they go along, too.
Yeah, staying in the groove properly while doing free improv like that certainly isn't easy. It would be easier to learn that line and play it as is, than it was to create it initially, thats a whole 'nother kind of gift.
It's almost a straight copy from the original, which makes it a monument of groove, good taste and yeah, quite challenging.
At first listening the bridge part sounds a bit simpler than Jamerson's and it was the hardest thing to hold.
The difficulty os such a line isn't in the notes as much as finding a groove and tone that perfectly fit the band and set a mood for the song.
It can sound bland if played lightly and obnoxious if too much emphasis is put on it .Finger and speed wise it isn't very hard though.
Approach it with dedication and humility then everything will be fine.
He also breezes through the key changes, which is added difficulty, I'll raise my number to 7.
Willie Weeks bass lines are very easy to play, but it's the way he plays them, his groove and melodic note choices, that makes them and him great.
Have a listen to the original, you can see where Willie's inspiration comes from. It's a great example of making a cover yours and not copying note for note.
Give it a 8 for improvisation and technique. Think about it he was probably in the studio with charts in front of him and laying it down cold not to mention maintaining the groove of the original piece while making it his own not and easy task.
That whole album is awesome. And live, I think.
Err! It's a track on a live album.
Marvin Gay's version is more formal. This is the DH band jamming, stretching out and having fun in front of an audience and feeding off the energy.
If you know your scales, chord tones and passing notes this is a very straightforward line to play. Willie Weeks knows his stuff which is how he makes it sound so effortless.
To copy and learn this, a 5. The skill it takes to make it? Different story.
It has a swung 16th feel aka Funk Shuffle, Half-Time Shuffle, Purdie Shuffle ….which you’ll have to practice a lot if you’re not used to it.
Other songs with swung 16th feel…
Superstition - Stevie Wonder.
Fool in the Rain - Led Zeppelin.
Rosanna - Toto.
The girl is mine - McCartney & Michael Jackson.
Sunday Morning - Maroon 5.
I’m Yours - Jason Mraz.
It really helps if you understand what the drummer is doing for you to really lock in with their feel.
One of my all time favorite tunes. I played the Marvin Gaye version yeas ago. Great groove. You need a great rake and fluidity crossing strings with your plucking hand. A rock solid drummer helps as any variation in tempo will destroy that feel. Sounds like this version has a few more figures in it to work out than the Gaye version.
To your question, with enough time I could do pretty good job on it, but more than likely not a dead on note for note cover. I play and have played a lot of Jamerson parts over the last 50 years which helps with development of my technique.
I’m in a band playing the Marvin Gaye version. I don’t try to play it note for note, but I’m going to check out this other version for more ideas!