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    Darling Dear Jackson 5 Bass Transcription PDF

    Uploaded by

    Alinson Alaniz
    The document is a transcription of the bass line played by James Jamerson on the Jackson 5 song "Darling Dear". It transcribes the bass line through the intro, chorus, verse, bridge and outro sections in musical notation. The bass line utilizes many blues and R&B style techniques such as walking bass lines, pedal tones, and call-and-response patterns. The transcription shows Jamerson's creative and melodic bass playing was a key part of the song's signature sound.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    Darling Dear Jackson 5 Bass Transcription PDF

    Uploaded by

    Alinson Alaniz
    203 views5 pages
    The document is a transcription of the bass line played by James Jamerson on the Jackson 5 song "Darling Dear". It transcribes the bass line through the intro, chorus, verse, bridge and outro sections in musical notation. The bass line utilizes many blues and R&B style techniques such as walking bass lines, pedal tones, and call-and-response patterns. The transcription shows Jamerson's creative and melodic bass playing was a key part of the song's signature sound.

    Original Description:

    Original Title

    Darling-Dear-Jackson-5-Bass-Transcription.pdf

    Copyright

    © © All Rights Reserved

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    PDF, TXT or read online from Scribd

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    The document is a transcription of the bass line played by James Jamerson on the Jackson 5 song "Darling Dear". It transcribes the bass line through the intro, chorus, verse, bridge and outro sections in musical notation. The bass line utilizes many blues and R&B style techniques such as walking bass lines, pedal tones, and call-and-response patterns. The transcription shows Jamerson's creative and melodic bass playing was a key part of the song's signature sound.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    203 views5 pages

    Darling Dear Jackson 5 Bass Transcription PDF

    Uploaded by

    Alinson Alaniz
    The document is a transcription of the bass line played by James Jamerson on the Jackson 5 song "Darling Dear". It transcribes the bass line through the intro, chorus, verse, bridge and outro sections in musical notation. The bass line utilizes many blues and R&B style techniques such as walking bass lines, pedal tones, and call-and-response patterns. The transcription shows Jamerson's creative and melodic bass playing was a key part of the song's signature sound.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 5
    At a glance
    Powered by AI
    The transcription provides the bass line for the 1970 Jackson 5 song 'Gordy'. It shows the bass progression over five pages of musical notation.

    The song is a celebration of the record producer Berry Gordy and his role in the success of Motown Records.

    The song features vocals and includes instrumentation from guitar, bass, drums and keyboards.

    James Jamerson's Bass Line on

    Transcription by
    Scott Sutherland Darling Dear Gordy/Gordy/Story

    as featured on 'Third Album' by Jackson 5 (1970)

    INTRO

     
    Eb/F Dm7 Eb/F

                 


            

    
    0 1 2 3 3 2 1 0 0 0 0 1 2 3 3 2 1
    1 1

              
    Dm7 Eb/F Bbmaj7
    5

               


       

    
    0 0 0 0 0 0 1 2 3 0 1 2 3 0 1 2 3 0 1 2
    1
    1 1

      
    Eb/F Dm7

          
              
      

    
    3 0 1 2 3 3 2 1 0 0 0 0 0
    1
    1

     
    Cm7 Bbmaj7 Cm7 Dm7 Db7
    12

                                

     3 3 3 3 0 1 1 1 X 3 3 3 3 5 5 5 X 4 4 4 0 1 2

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    CHORUS 1
    2

     
    Cm9 Eb/F Bbmaj7

               
              
    

    
    0 2 3 3 3 0
    0 1 2 3 0 0 1 2 3
    3 3 0 1 3 1 3 1 0 1 3 0
    3 3 0 1 1

     
    Cm7 Dm7


                                

    
    0 1 2 3
    1 0 0 1 0 1 2 3 3 0 1 2 3 4 5 5 5 0 5 3 4 5 1 2
    1 3

     
    Cm7 Bbmaj7 Dm/A Gm7

                          
    21

            

    
    0 0 0 3 3 3 2 2 2 0 0
    1 2 3 3 3 3 3 0 0 0 0
    3 3 1 0 0
    2 3

    VERSE 1

     
    Dm7 Cm7 Bbmaj7

             
    24
    
                       

    
    5 6 7 6 5 0 0
    6 7 0 0 1 0 0 0 1 2
    5 5 3 0 3 0 1 1 1
    3 1

      
    F Dm7 Cm7
    27
              
                   
    

    
    3 3 3 2 1 1 0 0
    5 0 5 3 4 5 2 3 0 1 3 3 0
    1 3 0 3 1

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    BRIDGE
    3

     
    Bbmaj7 F Cm7


              
    30

                    
     

    
    3 3
    0 0 1 2 3 3 3 3 1 0
    1 1 3 2 3 3 1 2 3
    1 0 1 3 0

      
    Eb/F Bbmaj7

            
    33
              
               

    
    0 3 3 0
    3 1 2 3 3 0 1 3 0 0 1 2 3
    0 1 2 3 0 1 1 1 0 1 2
    1

      
    Cm7 Dm7 Cm7 Eb/F
    36

                            


      

     3 3
    0 1 3
    1 2 3 4 5 5
    1 3
    0 3 4 5 1 2 3 2 3 3
    0 1 0 1 3
    1
    3

    VERSE 2

     
    Bbmaj7 Dm/A Gm7 Dm7
                
                     
    39
          

    
    5 6 7 6 7 5 7 7
    0 3 4 5 0 7 7
    1 1 1 0 0 0 0 0 1 3 6 5
    1 1 2 3

            
    Cm7 Bbmaj7 F
    42

                 
        

    
    5 5 0 0
    1 0 0 0 0 1 1 1 2 2 3 0 3 2 2 1
    3 2 1 0 3
    1

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    4

     
    Dm7 Cm7 Bbmaj7

     
                       
      
    45

         

    
    1 2 3 3
    0 0 0 0 1 2
    0 4 5 2 3 3 1 2 3 0 1 1
    0 1 3 0 1

    CHORUS 2

         
    F Cm7 Eb/F
    48
       
                 
       
        

    
    0 5 3 0
    3 3 3 3 1 0 1 0 2 3
    3 2 3 3 0 1 2 3 0
    1 0 1

             
    Bbmaj7 Cm7
    51

                        

    
    3 0 3
    0 1 2 3 3 0 0 1 2 3
    1 1 1 1 0 1 2 3 3 0 1 2 3 4
    3

     
    Dm7 Cm7 Eb/F Bbmaj7 Dm/A

                      
    54

           
          

    
    0 0 0 3 3 3 2 2 2
    1 2 3 3 3 3 0 0
    5 5 5 0 5 4 X 5 1 2 3 2 3

    OUTRO

      
    Gm7 Bbmaj7 Dm/A Gm7

                               


       
    57

    
    2
    5 0 0 3 4 5 3 5
    1 0 1 0 1 1 1 0 0 0 0 0 1 3
    2 3 2 3 1 3 1 2 3

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    5

             
    Bbmaj7 Dm/A Gm7 Bbmaj7 Dm/A

     
    60

                     
       

    
    3 3 3 2 2 2
    3 0 0 5 0 0
    1 0 0 1 1 0 0 0 0 0
    0 3 1 1 1 2

     
    Gm7 Bbmaj7 Dm/A

                     
    63

          
    fade out

    
    2 3 3 3 3 2 2 2
    0 3 4 5 3 5 3 0 0
    0 1 3
    3

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