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The fourth note of "Hey Jealousy"
- Thread starter MultiScaleMale
- Start date
It's great to have respectful, educational discussions. I'm still working on getting better at notating and transcribing. My struggle for this one (listening to the studio version) is I'm in the G# camp and I don't hear the glissando all the way to D . But the G# isn't perfect so I might notate a slide in to the G# above and then a slide into the D. Then again sometimes I'm good at over complicating it. Anyway I always appreciate your posts and walk away better at notating and transcribing .
Yes, and....do you believe the bassist MEANT to play a G# there, or did he mistime his LH Gliss/RH Pluck and the result is a "G#"?
Also, too - Do you think the bass run and the guitar lick should be a UNISON, or not?
Just asking. Not looking for a BassBrawl.
Thanks, Who...for your interest in the innnerworkings of Actual Music.
Me Two...er, Too. It never ends....
Thanks for your kind words pmatz
Here is another, recent live (acoustic) rendition of the song.
The bass plays G#.
The bass Intro run, just very slow.
OK...
Also - Do you have an opinion one way or another re: this:
Do you think the bass run and the guitar lick should be a UNISON, or not?
I have been told I AM STUBBORN!
Thanks, Who... my Friend.
A__B__C#__B__A. Unless I'm listening to the wrong song or wrong song section. Wasn't specified in the OP.
Caveat: I don't know or play that tune.
That said; the note in question is a passing tone in a moderate / quick tempo tune. On first few listens, my ear HEARS the A; because the A resolves to the root. The ONLY musical reason to use the flat 5 would be to add some interesting tension. But, if that were the objective, I would have chosen the flat 5 on the preceding downbeat; for the simple reason that the audience will not hear it in the passing tone at performance tempo.
One other observation: we are discussing popular music. If the piece were Beethoven, then drilling into what the composer intended fits the art form. Most bands would be performing this to dancing audiences, who are not scrutinizing the bass line. Yes, it is important to understand originally recorded lines in detail; and be capable of playing them down. No, you typically don't necessarily perform them that way. Not because you can't do so; but, because you are supposed to bring your own musical (though informed) thing to the performance.
OTOH, IF you want the tension, by all means play the flat 5. In fact, if you really want the tension, then play a diminished lead in. Not sure that will please the audience right off the top; and most likely none of them will get it. But, do your thing.
Carry on.
That said; the note in question is a passing tone in a moderate / quick tempo tune. On first few listens, my ear HEARS the A; because the A resolves to the root. The ONLY musical reason to use the flat 5 would be to add some interesting tension. But, if that were the objective, I would have chosen the flat 5 on the preceding downbeat; for the simple reason that the audience will not hear it in the passing tone at performance tempo.
One other observation: we are discussing popular music. If the piece were Beethoven, then drilling into what the composer intended fits the art form. Most bands would be performing this to dancing audiences, who are not scrutinizing the bass line. Yes, it is important to understand originally recorded lines in detail; and be capable of playing them down. No, you typically don't necessarily perform them that way. Not because you can't do so; but, because you are supposed to bring your own musical (though informed) thing to the performance.
OTOH, IF you want the tension, by all means play the flat 5. In fact, if you really want the tension, then play a diminished lead in. Not sure that will please the audience right off the top; and most likely none of them will get it. But, do your thing.
Carry on.
Last edited:
Don,
You are my hidden treasure at TB - a huge treasure trove of music KNOWLEDGE.
Always happy to hear from you.
Another acoustic version. It's easier on my old ears.
The bass plays G#.
One more acoustic rendition of the same.
The bass plays G#:
I'm JEALOUS of your tenacity!
Thanks for the (always) stimulating discussion.
Peace Out.
Take Care, Who....
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