![]() ![]() There really isn’t much to the this song in terms of construction there are 3 sections which are best seen in the crib transcription for 4 string bass. An idea to steal off the record is his deceptive percussive tapping (fingers just pushing down muted strings into the pick ups) from bar 6 however subtle it adds that extra layer to the drums which is not there at the bar 16 break. Things to note are Jamareo’s precision pocket playing, his extensive use of slides and his dynamics slap for loud and fingers for quiet. ![]() The fills are tight and only serve the music, not his technique. This track is noteworthy for Jamareo’s use of space and restraint. However that’s not all! There is a chromatic run during the drum break and then the doubling up of the snare fills underneath the horns in the chorus. It utilises the classic (long short), dotted quaver into semi-quaver funk rhythm. The main bass groove is an echo of the catchy intro’s scat vocal line. There is a full transcription of the song and then a short crib notes version for 4 string bass to get stuck into. The technique you are aiming for is grooving a slap line on a 5 string bass. ![]() The modality is centered around D minor, however the bass line has little to do with this as it plays root notes all the way through. Each track off the album references a certain genre and period of music, in this case it’s Funk via Prince and the “Minneapolis Sound” of the 1980s. It is taken from Mark Ronson’s Uptown Special album (2015). This month’s transcription is Uptown Funk, with Jamareo Artis on bass. Published on ApThis month’s transcription is Uptown Funk, with Jamareo Artis on bass. ![]()
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