I know very little about Gospel bass or Shout, but I'm a fan. This is my attempt to transcribe Travis' bass line of Level 4 in the video. I welcome all input, especially the chords.
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Submission Travis Dykes - Gospel Bass
- Thread starter LeeNunn
- Start date
I know very little about Gospel bass or Shout, but I'm a fan. This is my attempt to transcribe Travis' bass line of Level 4 in the video. I welcome all input, especially the chords.
Thank you so much for transcribing that bass-line(challenge!)
Have you tried to play that "challenge?"
Why do you think it's a "challenge?"
When you look at the transcription, it does not look "ominous."
I haven’t tried playing it. There might be a rule that you have to have a five string bass. And a fretted one. I might adjust the transcription to suit a four string. I’m not a fan of detuning my bass.
I have a four-string bass and it's perfectly OK to play that "shout" challenge. No need to detune your bass.
It's all about that "vibe."
The "challenge" has a lot of technical nuances - slides, bent notes, vibrato, ghost notes, etc...
Is the "challenge" flowing playfully
(One could try to incorporate open A or D strings.)
Next, (after memorizing)
start transposing that bass-line, and so on...
Once again, thank you for transcribing it. Our TB members could try to take on that "challenge."
I'm trying to rearrange the bass-line without sacrificing the "shout vibe."
Let's say, here is Measure 12.
I think that works. I don't know what happened to measure 26. Here's an edited version of the original fixing measure 26, and a four string version.
Don,
Here is that fish for you.
Sorry for that messy notation!
(My head started really spinning listening to those "church organ" chord.
It looks like a huge mess, but...| F | F7(11) / Ebmaj9(Bb-bass), F7 (#9) |
| F | F7(11) / Ebmaj9(Bb-bass), F7 (#9) |
| F | F7(11) / Ebmaj9(Bb-bass), F7 (#9) |
| F | F7(11), Bb6(no 3rd), Fdim7b9 (B-bass), F(C-bass) |
Measure 9 = (D7no5)Dmaj13, (Eb7no5)Eb13, (E7no5)E13, Bb13 (no 11) |
| Bb13(no11) /Ddim(?), Ebdim(?) | x 5
Measure 15 = | Bb13(no11) F7 |
|F9, Bb6, Fdim(b9), Dmin9 |
Measure 17 = ¾ (I've decided to use the 3/4 time signature for only this measure! It aligns perfectly with the following chord changes)
| D7 #5 #9 |
Measure 18 = 4/4 (back to the normal time signature) | Gmin11 |
| Ab13 #9 #11 | A7 #11 | D7 #5 #9 |
| Gmin11 | Ab13 #9 #11 | F7/A |
| D7 #5 #9 |
|Gmin11 |
| Fdim7(b9)/Ab-in the bass |
| F13/A in the bass |
| D7 #5 #9 |
| Gmin11 |
| Ab13 #9 #11 or Fdim7 b9/Ab in the bass|
Measure 32 = 5/4 (I've added back that one quarter note lost in Measure 17!)
| F7 #9 11, A13, Bb11, (Abmin-pick up chord) B13, (G13 #9 – pick up chord)Cmin7 (add 6) |
| D13 #5 11, Eb11, E13, Cmin11 |
F7 #9 = CODA!
Here is my bass rearrangement for the 4-string bass.
Hi Who...Don,
Here is that fish for you.
Sorry for that messy notation!
(My head started really spinning listening to those "church organ" chord.
| F | F7(11) / Ebmaj9(Bb-bass), F7 (#9) |
| F | F7(11) / Ebmaj9(Bb-bass), F7 (#9) |
| F | F7(11) / Ebmaj9(Bb-bass), F7 (#9) |
| F | F7(11), Bb6(no 3rd), Fdim7b9 (B-bass), F(C-bass) |
Measure 9 = (D7no5)Dmaj13, (Eb7no5)Eb13, (E7no5)E13, Bb13 (no 11) |
| Bb13(no11) /Ddim(?), Ebdim(?) | x 5
Measure 15 = | Bb13(no11) F7 |
|F9, Bb6, Fdim(b9), Dmin9 |
Measure 17 = ¾ (I've decided to use the 3/4 time signature for only this measure! It aligns perfectly with the following chord changes)
| D7 #5 #9 |
Measure 18 = 4/4 (back to the normal time signature) | Gmin11 |
| Ab13 #9 #11 | A7 #11 | D7 #5 #9 |
| Gmin11 | Ab13 #9 #11 | F7/A |
| D7 #5 #9 |
|Gmin11 |
| Fdim7(b9)/Ab-in the bass |
| F13/A in the bass |
| D7 #5 #9 |
| Gmin11 |
| Ab13 #9 #11 or Fdim7 b9/Ab in the bass|
Measure 32 = 5/4 (I've added back that one quarter note lost in Measure 17!)
| F7 #9 11, A13, Bb11, (Abmin-pick up chord) B13, (G13 #9 – pick up chord)Cmin7 (add 6) |
| D13 #5 11, Eb11, E13, Cmin11 |
F7 #9 = CODA!
Here is my bass rearrangement for the 4-string bass.
This presentation is difficult for our purposes. Can you please generate a measure by measure Chord Chart (NO Bassline) showing your chord names for each measure? (Use slashes for quarter notes in a measure, if necessary.)
That would be helpful to the discussion. Then we can follow the YT video and discuss.
Please and Thanks.
Don,
I'm trying to figure out how I could notate/generate just the Chord Chart on the computer.
I'll think something.
You're kidding, right?
Pencil & Paper, then take a Photo on Phone, Post!
Let's just start with the first 20sec. of the track starting at 1:09 of the YT.
Thx.
Last edited:
Here we go...
Here is what I hear (Harmonically speaking, with a quick sketch of the bassline), on the YT above, from 1:09 thru 1:23.IMFO, of course.
NOTE: the (upcoming?) 3/4 bar is the result of a poor video edit at 1:23 which caused a beat to be lost. Just FYI.
Let me know what you all think.
Thx.
Here is what I hear (Harmonically speaking, with a quick sketch of the bassline), on the YT above, from 1:09 thru 1:23.IMFO, of course.
NOTE: the (upcoming?) 3/4 bar is the result of a poor video edit at 1:23 which caused a beat to be lost. Just FYI.
Let me know what you all think.
Thx.
This makes much more sense notating measure 10 as 3/4 and then starting measure 11 on what used to be beat 4 of measure 10. I heard the claps at the beginning as 8th notes. (3 and 4 and)
If the back beat is on the "ands", does that imply a different time signature?
Anyway, here is the original transcription with measure 10 in 3/4, which shifts the rest of it.
If the back beat is on the "ands", does that imply a different time signature?
Anyway, here is the original transcription with measure 10 in 3/4, which shifts the rest of it.
Don,
I've started learning how to do a chord chart on the computer.
(N.B. I could not find any sheet paper at home
, plus, my handwriting is terrible. )Looking at your Measure 3, I have it as F9/A Ebmaj9/Bb and F7(#9)/C.
P.S. I will learn how to use PreSonus Notion to chart chords.
I have slightly different chord notation for those two chords:
Measure 8 : F9/A - Bb6 (no 3rd) - Fdim7b9/B and (a passing, introductory chromatic chord of Ddim7b) C6.
Measure 9: ((a passing chromatic chord of D7(no5) as notes C and F#)) Dmaj13,
(another passing chromatic chord of Eb7no5 - Db and G) Eb13,
(another passing chromatic chord of E7no5 - D and G#) E13,
(another passing chromatic chord of F7no5 - Eb and A) F13,
and (at 1:23) B13 as chord notes of (ascending) G - Ab - C - D - F - Eb and the bass note Bb.
Last edited:
If we accept your vision that the first F note is an anacrusis - a pick up 8th note, then, the regular downbeats of 1 2 3 4 become as offbeats:
1 and 2 and 3 and 4 and.
All track long?
That's very "tough."
Another thing.
What to do with the drum kick also playing those 1 2 3 4 beats?
Last edited:
You're saying there is an "Eb" in that chord? I don't hear an Eb in that chord voicing.
I don't hear a #9 in that chord voicing.
You're doing it again, Mr. Who - if there is a "B" in the bass, then the chord sounds, and is spelled - Bdim7... It's like a price tag on a loaf of bread that reads "$2.00 + $1.00"- that tag should just read "$3.00"!
Also - I have never heard or seen a diminished chord analyzed and spelled with both the Dim 5th and Perfect 5th at the same time (you are indicating the presence of both an F and an F# in that chord. That is very unconventional and kooky.)
OK. Yes. These are just chromatically ascending Dominant 7th chords. Any experienced improvising keyboardist will embellish (by ear) an "X7" chord with 9, 13, etc. It is most useful for a bassist to HEAR that the root movement is chromatic and the chords are Dominant 7's.
Also - re: "Dmaj13" this is an unconventional name for a chord - if you mean a D7 with an added 13, just call it D7,add 13. (No need for writing "...maj", which is usually used for Maj 7 chords.
I gave up on the chords at that point, but, again, try to name the chord based on the name of the bass note.
Yes. That is the way I hear it...I'll die on this hill!
Yes. The "handclaps" are on the upbeats, throughout.
I don't see/hear any problem there.
Thx.
Yes, I can hear that Eb (ascending chord notes) Eb - Bb - F - G - D.
Chord notes as Eb - A - F - G#(b9) - C
Here is that isolated chord, just at the 20% tempo.
I hear the movement from G# to A
It has Eb note in that chord, that's why I included "maj."
OK, then, it's the Bb13 chord: (ascending) Bb - G - Ab - C - D - F - Eb.
Lucky you.
I'm still learning.
