ベースの採譜 （トランスクリプション）
米国の「Bass Player」の雑誌の為の採譜、分析、記事などのリストはここです。
採譜のフォーマットは A4の PDF です。もし、ファイルを読む問題があれば、ここを押すと一番最近のアドベ・リーダが貰えます。（無料です！）
ブライアン・ベラー：「Greasy Wheel」
ブライアン・ベラーの『Thanks In Advance』から
Put simply, Bryan Beller's seminal second album rocks. This transcription of "Greasy Wheel," (hosted on Bryan's own site), serves as a sampler for the full 140-paged book of transcriptions, which can be purchased from Monsieur Beller's digital superstore.
採譜 | コメント／分析
ジミー・ジョンソン：「In The Mystery」
アラン・ホールズワースの『Metal Fatigue』から
"In The Mystery" -- from Allan Holdsworth's 1985 album Metal Fatigue -- features yet more superb bass work from Jimmy Johnson, who knocks us dead with some killer lines conjured from a graphite-necked fretless Alembic Series I.
採譜 | コメント／分析
Rutger Gunnarsson：「Dancing Queen」
ABBA の『Arrival』から
Criminally under-sung bass maestro Rutger Gunnarsson can be heard on just about every Abba hit you can name (though British bassist Mike Watson also played on a few key tracks, too). "Dancing Queen" is Gunnarsson at his best: funky, in the pocket and effortlessly inventive.
採譜 | コメント／分析
ビル・チャーチ：「Jackie Wilson Said」
ヴァン・モリソンの『St. Dominic's Preview』から
Church's hard-swingin' lines perfectly complement Morrison's homage to R&B legend Jackie Wilson (while also showing how to lay down a tasteful and melodic part that fits the song like a glove).
採譜 | コメント／分析
クリス・スクワイア：「Going For The One」
イエスの『Going For The One』から
"Going For The One" is a quintessential Chris Squire classic. His weaving contrapuntal lines and unerring sense of harmonic conviction serve as a spine-tingling master class in melodic inventiveness for bassists of all styles.
Standard notation | Tab version | コメント／分析
クリス・スクワイア：「Parallels」
イエスの『Going For The One』から
Unlike the contrapuntal creation permeating "Going For The One," in "Parallels," Chris Squire spends a lot of the time locked into a solid repeating groove with drummer Alan White rather than wandering off into his own harmonic world. Indeed, certain parts of "Parallels" are groovy enough to give Bootsy himself in-the-pocket palpitations.
Standard notation | Tab version | コメント／分析
ジェフ・バーリン：「Tears in Heaven」
ジェッフバーリンの『Lumpy Jazz』から
Superlative solo bass piece from controversial but always-on-the-money musical maestro. Break out your strongest coffee and prepare to start counting ledger lines! ;-)
採譜 | コメント／分析
アンソニー・ジャクソン：「Billie's Bounce」
バディ・リッチの "Very
Live at 『Buddy's Place』から
A straight blues outing in which AJ delivers a fine solo while pulling off some of his trademark
harmonic twists and turns as he underpins Buddy Rich's
band.
梭風 | コメント/分析
ポール・チェンバース：「Giant Steps」
ジョン・コルトレーンの『Giant Steps』から
Just when you think you've had this tune in the bag for years, someone calls it near the end of a session - you know, after you've already had a few drinks - and you realize: A) It may well have been in your bag, but maybe the zipper wasn't done up as tightly as it should have been, and B) Maybe that fourth beer wasn't such a good idea...
採譜 | コメント／分析
ジェット・ハリス：「Nivram」
シャドウズの『The Shadows』から
Though a million miles away from the flash and fireworks of today's bass solos (and solo bassists) Jet Harris was nevertheless the real deal back in the day. And, as an added bonus, he looked cool as all-get-out. Furthermore, this song features what is likely the first ever electric bass solo in a pop setting (1961). Enjoy!
採譜 | コメント／分析
フランチェスコ・ディコズモ：「Bring Me To Life」
エヴァネッセンスの『Fallen』から
Heavier than a rhino and as punchy as Mike Tyson, Francesco DiCosmo's bass playing did much to shape the overall sound and impact of Evanescence's most famous number.
採譜 | コメント／分析
カーマイン・ロジャス：「Let's Dance」
デヴィッド・ボウイの『Let's Dance』から
"Let's Dance," the title track of David Bowie's seminal 1983 album, features some classy low-end work by session-ace Carmine Rojas. (See below for a transcription of "China Girl.")
採譜 | コメント／分析
カーマイン・ロジャス：「China Girl」
デヴィッド・ボウイの『Let's Dance』から
Carmine Rojas conjures up a superlative song-defining riff on the second track of David Bowie's landmark 1983 album, Let's Dance. (See above for a transcription of the title track "Let's Dance.")
採譜 | コメント／分析
アンソニー・ジャクソン：「Clouds」
チャカ・カーンの『Naughty』から
Though Marcus Miller and Willie Weeks also feature on Naughty, it's Anthony Jackson who steals the show with his thundering low Cs and killer grooves.
AJ pushed bass playing into new territory on the six tracks he graces on this album, not least because he played several of the songs on a four-string Fender bass tuned down two whole steps - in effect paving the way for the 5- and 6-string electric basses that are around today.
採譜 | コメント／分析
アンソニー・ジャクソン：「Move Me No Mountain」
チャカ・カーンの『Naughty』から
Put simply, Naughty contains some of the finest and funkiest bass playing this side of the Horsehead Nebula. This track goes some way toward explaining why...
採譜 | コメント／分析
アンソニー・ジャクソン：「Nothing's Gonna Take You Away」
チャカ・カーンの『Naughty』から
This tune is fine example of what a great rhythm section can do for a fairly standard medium-ballad number, with Anthony Jackson and Steve Ferrone working their collective magic to transform the song into a driving Latin-tinged pop classic.
採譜 | コメント／分析
アンソニー・ジャクソン：「Too Much Love」
チャカ・カーンの『Naughty』から
A lot of people think Anthony Jackson is the only bassist on Naughty, but this isn't quite true. There are three other bassists featured: Willie Weeks, Marcus Miller and Mark Stevens (Chaka's brother).
However, this song is the only track on the album to credit two bass players, both Anthony jackson and Mark Stevens. Strange indeed...
採譜 | コメント／分析
アンソニー・ジャクソン：「All Night's All Right」
チャカ・カーンの『Naughty』から
Jackson's rock-solid bass groove provides the foundation for this track, which showcases the band's hermetically tight rhythm section and some very interesting harmony.
採譜 | コメント／分析
アンソニー・ジャクソン：「Our Love's In Danger」
チャカ・カーンの『Naughty』から
Jackson's nuance-packed playing on this track on requires another detail-heavy transcription. Hey don't shoot the messenger! ;-)
採譜 | コメント／分析
アンソニー・ジャクソン：「What Cha' Gonna Do For Me」
チャカ・カーンの『What Cha' Gonna Do For Me』から
On this, the title track of Chaka Khan's third solo album, Anthony Jackson's bass part is doubled throughout by a Moog synth. In spite of this, there's no doubt as to who's driving the low-end show. And no, it's not the Moog player ;-)
採譜 | コメント／分析
アンソニー・ジャクソン：「I Know You, I Live You」
チャカ・カーンの『What Cha' Gonna Do For Me』から
This at-times rhythmically explosive number is one of the most memorable tracks on the What Cha album, thanks to Anthony Jackson's measured but powerful playing and Arif Mardin's punchy horn arrangement.
採譜 | コメント／分析
アンソニー・ジャクソン：「Any Old Sunday」
チャカ・カーンの『What Cha' Gonna Do For Me』から
On this track, Jackson once again demonstrates that groove and momentum need not be sacrificed when tackling a slower-paced track, in this case, a laid-back shuffle number.
採譜 | コメント／分析
アンソニー・ジャクソン：「We Got Each Other」
チャカ・カーンの『What Cha' Gonna Do For Me』から
As well as deviating from standard pitch by a quarter-tone, this song is also notable in that the bass player and the rest of the band seem to be grooving in different, albeit related, keys...
採譜 | コメント／分析
アンソニー・ジャクソン：「Night Moods」
チャカ・カーンの『What Cha' Gonna Do For Me』から
Thanks to Jackson's drivingly insistent lines, this atmospheric quasi-ballad number is shot through with a powerful sense of restrained energy, which merely serves to heighten the tension generated by Chaka's often low-register huskiness, the exotic #11-based harmony, and the otherworldly, delay-soaked flute.
採譜 | コメント／分析
アンソニー・ジャクソン：「Heed The Warning」
チャカ・カーンの『What Cha' Gonna Do For Me』から
As well as serving as a classic example of how a great riff can build a whole song, this track also demonstrates how tiny deviations from the norm can have a subtle, but significant effect. As an added bonus, "Heed The Warning" also
contains the finest bass-related moment on the whole of this album. (Well, I think so anyway!)
採譜 | コメント／分析
アンソニー・ジャクソン：「Father He Said」
チャカ・カーンの『What Cha' Gonna Do For Me』から
Many bassists are so keen to show off their double-thump or 11-fingered tapping technique (often during a sensitive ballad) that they forget about their main function - to support the rest of the band while being sensitive to what's happening around them.On "Father He Said," Anthony Jackson shows exactly how it should be done.
採譜 | コメント／分析
アンソニー・ジャクソン：「Fate」
チャカ・カーンの『What Cha' Gonna Do For Me』から
For the second album in a row, Chaka's slappin' poppin' sibling Mark Stevens muscles in on Jackson's low-frequency territory, overdubbing lines that perhaps reflect the era in which the album was produced, if not the needs of the song...
採譜 | コメント／分析
アンソニー・ジャクソン：「I Know You, I Live You (Reprise)」
チャカ・カーンの『What Cha' Gonna Do For Me』から
Although there's no fresh material to speak of in terms of the bass, reprising of one of the most musically upbeat songs on the album is a great way to wrap things up.
採譜 | コメント／分析
アンソニー・ジャクソン：「Love Has Fallen On Me」
チャカ・カーンの『Chaka』から
As you'd expect, a song written by Andrew Lloyd Webber doesn't quite conform to the "norms" of pop songdom. As such, this track is a study in rhythmic twists and slight-of-hand harmonic turns, with the added bonus of featuring perhaps the first recorded example of AJ's detuned Fender bass.
採譜 | コメント／分析
アンソニー・ジャクソン：「Sleep On It」
チャカ・カーンの『Chaka』から
A mid-tempo soulful funk-tinged number that benefits greatly from the contrasts between sections artfully accentuated by the killer rhythm section of Anthony Jackson and Steve Ferrone. AJ also fires off several scintillating runs that light up the track like fireworks above a tropical beach at twilight...
採譜 | コメント／分析
アンソニー・ジャクソン：「I Was Made To Love Him」
チャカ・カーンの『Chaka』から
Chaka's cover of this Stevie Wonder classic gives Anthony Jackson the chance to show that he's his own man when it comes to interpreting a track that had already been turned into something special by his idol James Jamerson. Check out AJ's masterful use of chromaticism - something that continued to flourish until it became an integral part of his style.
採譜 | コメント／分析 |
