song timing

[SteveCS]

To my ear, it stays in 4/4 there. I don't think the missing back beat is problematic at all.

The even emphasis isn't a problem for me, but might be difficult for someone not used to transcribing or critical listening. Yes you could stay with 4/4 and the slight tempo drop, but with each beat in the Coda getting equal emphasis rather than the "strong - weak - strong-ish - weaker" typical of 4/4, I felt something else might be more informative.

 

[txhawaii]

Update: I practiced this song by ear with no visual tabs or notes. While I made my mistakes, I used my ears, the singer’s voice and my inner metronome to play along w the beat. It’s complicated for an amateur like me but with more practice I think it can be accomplished.

 

[SteveCS]

sounds like a tempo change at 3:50 and after

Indeed there is. I initially had it as staying the same with just a time signature change, but it goes from ~69/70 to ~61BPM.

 

[Whousedtoplay]

Update: I practiced this song by ear with no visual tabs or notes. While I made my mistakes, I used my ears, the singer’s voice and my inner metronome to play along w the beat. It’s complicated for an amateur like me but with more practice I think it can be accomplished.

The band's arrangement style reminds me of the (early) rock music from the late 60's when the bass was filling a lot of spaces.



Here is the same track also live.
The band starts accelerating tempo during the performance.
I don't know if it's done on purpose.
There are some "discrepancies" between the band's musicians because of that acceleration.

I doubt that they are practicing with any kind of metronome.

 

[Whousedtoplay]

that song gave me a headache

What do you think about the following song.
(I really like the bass-line: simple but modernized.)

 

[Don Kasper]

I really like the bass-line:

Agree!

simple but modernized.)

Disagree! I guess we have different definitions of "simple".(The bassist is fantastically nailing this beautiful tune.)
IMFO, of course.
Thx for posting this, WUTP.
Q: why is Haitus Kaiyote not more popular???...(said the Old Guy.)

 

[Whousedtoplay]

Agree!

Disagree! I guess we have different definitions of "simple".(The bassist is fantastically nailing this beautiful tune.)
IMFO, of course.
Thx for posting this, WUTP.
Q: why is Haitus Kaiyote not more popular???...(said the Old Guy.)

Hiatus Kaiyote has caught my attention due to their MODERN-ized approach (to me, to my ears) for two reasons:
1. Interesting rhythmic approach to Pop songs - yes, the bass line just becomes an integral part of the rhythmic foundation of their composition/s (without any show off),
and
2. (kind of, ad libitum rendered) their smoothly-crafted (and slightly rhythmically-displaced) Melody breaking the usual pop music pitch/phrase boundaries.

I really like the bass player, Paul Bender. He truly knows and understands
(a) what he's playing,
(b) why he's playing that line, and
(c) how "cool" and important that bass line is for this/that composition.

When I've called that bass line "simple", I meant, it's not technically-complex line.
Modernized - to me it's more about the "mental" approach towards the creation of his bass-lines, kind of, less standardized than my aging brain recognizes.

 

[Whousedtoplay]

Here is another live performance of Hiatus Kaiyote.
It's not some ordinary pop track.
The bass-line and its rendition. (Around 3:45 )
The smoothly-waived Melody.

 

[JohnnyPustular]

Here's how I would approach this as a beginner and even now. Note that the ass hits hardest in and around th 1 beat. This is standard funkmanship that gives the song that cool laid back groove. For the most, the remainder of the notes either run up to the 1 or run away from the 1 and to a chord change. I'd start by just playing the notes on the 1. Forget the rest for now. You'll soon develop a very nice feel for the flow of this tune. After you're vibing on the flow on the 1, break down the little runs. What are they? (e.g., 3 frets up to the 1; one note on the three). There's not a lot of these in the song. Learn where they come in. There's a pattern relative to the rest of the band and the song structure as to where different kinds of runs show up. Now you have all the pieces you need to play the song; not just play the note the original ass player used. Play the song! Give it your own vibe. Make it your own. Naturally, you'll want to put some of the more prominent runs in the same place as the record has them. But put some other runs in other places-- places that you dig. Turn some of the runs inside out. Playa's gotta play!

 

[txhawaii]

Here's how I would approach this as a beginner and even now. Note that the ass hits hardest in and around th 1 beat. This is standard funkmanship that gives the song that cool laid back groove. For the most, the remainder of the notes either run up to the 1 or run away from the 1 and to a chord change. I'd start by just playing the notes on the 1. Forget the rest for now. You'll soon develop a very nice feel for the flow of this tune. After you're vibing on the flow on the 1, break down the little runs. What are they? (e.g., 3 frets up to the 1; one note on the three). There's not a lot of these in the song. Learn where they come in. There's a pattern relative to the rest of the band and the song structure as to where different kinds of runs show up. Now you have all the pieces you need to play the song; not just play the note the original ass player used. Play the song! Give it your own vibe. Make it your own. Naturally, you'll want to put some of the more prominent runs in the same place as the record has them. But put some other runs in other places-- places that you dig. Turn some of the runs inside out. Playa's gotta play!

Ah back to the original song! Thanks for that advice. Very sound.

 

[Whousedtoplay]

around 1:31 when the bassist starts to do his runs. it seems s/he are hitting notes in btw the beats.

I've found just one clearly pronounced rendition of triplets in the bass-line.
It's at around 1:36 of the original video.

Here is a soundclip of that spot on the bass, just slower and EQ-ed.
(In the clip, it starts around 0:06)

https://www.talkbass.com/attachment...3/?temp_hash=638f1f51088696ce40bfc1e768c8df53

The rest of the bass line "embellishments/runs" could be interpreted as (only)
"leaning towards triplets".

Here is one of those "runs" just much slower and bass EQ oriented.

To me, it's more of some "derivative" of the following rhythmic pattern, articulated, kind of, a la "triplets."

https://www.talkbass.com/attachment...0/?temp_hash=638f1f51088696ce40bfc1e768c8df53