Geeky Bob

Today's transcription is a song that I began transcribing a couple years ago, but I never took the time to sit down and finish until today: "Love, Salvation, the Fear of Death" by Sixpence None The Richer. This song does a great job of showcasing J.J. Plasencio on the bass (and I'll say more about him in a moment), and Matt Slocum's amazing skills with myriad, layered guitar parts. I briefly mentioned Matt Slocum a few years ago in my Transcribing Girlfriend in a Coma by The Smiths blog when I was discussing Johnny Marr, and the two of them fall into something of the same category for me. As always, I'll have some notes to share after the following video.

Here are my notes about this transcription:

• J.J. Plasencio's intro on the bass does a great job of setting the tone for the piece with a fast tempo and high energy, and it took some experimentation in Guitar Pro to get the effects to sound like the dotted eighth note delays that guitarists have been using for years.
  • If you're sitting down to work on this piece and you're trying dial in Plasencio's sound, all I can say is that a lot of experimentation with a delay pedal will go a long way. For what it's worth, my early skills with delays date back to David Gilmour's and Alex Lifeson's guitar work in the late 1970s and Eddie Van Halen and The Edge in the 1980s, and the skills in question were how to use the delay to create complex melodies that sound like more than one instrument.
  • I saw a live video of Sixpence None the Richer playing this song with Plasencio on bass several years ago (see https://youtu.be/ihwk5ndxhmA), in which Plasencio played his parts on a 6-string bass. However, the song is quite playable on a 4-string bass in Drop-D tuning, which is an instrument that the majority of bassists will have handy, so that's the direction that I chose to go with for this transcription. That being said, if you have a 6-six string bass, some of the parts can take advantage of the high C string and you might not need to jump around the fretboard as much. (Note that in the live video from 1:20 to 1:35, the physical pain that Plasencio is clearly suffering is not imagined; it's a challenging bass part if you're playing with fingers on your right hand, which is why I use a pick.)
• There are a lot of sonic textures going on within Matt Slocum's guitar parts, and I spent a good deal of time listening and re-listening to this song while trying to dig out every little nuance that I could. That being said, I know that the three guitar parts that I ultimately arranged for this transcription may not be perfect, but they're more than good enough for a cover band to sound like 99% of the original.

As I have always said in the past, this is a free transcription. So if you're upset that I left something out, or you don't think something is correct, then it sucks to be you.

NOTE: See https://youtu.be/iOiR8IFcKi4 for the official video for this song.

It's been a while since I posted a transcription, so I though that I'd share something that I transcribed a while ago but never got around to posting on my website. With that in mind, today's offering is one of my favorites from back in the 1980s: "Girlfriend in a Coma" by The Smiths. I'll admit, the topic sounds a little creepy, but it's a catchy song that I've loved ever since I first heard it. To be honest, The Smiths released a lot of music in a genre that a friend of mine collectively labeled as "Depression Pop." If you listened to enough of The Smiths' albums, you'd swear that nothing ever goes right for their singer, Morrissey. (Seriously. It's like listening to Eeyore sing.)

One of my favorite guitarists is Johnny Marr, who was the driving force behind The Smiths' unique sound. Marr has a great way of creating layered textures with his guitar sound that is very reminiscent of another favorite guitarist, Matt Slocum. (I might say more about Matt in a post at some other time, but today is all about Marr.)

Without further ado, here's my transcription of "Girlfriend in a Coma."

Here are my notes about this transcription:

• Probably the biggest omission from my transcription are some really cool volume swells that Marr added as layers to the piece. Those would have been easy to add to the transcription, but I just didn't feel like it.
• I didn't spend a lot of time trying to dial in the synth sound on the choruses; I'm pretty sure the notes are fairly accurate, but as always - I spent far more time trying to get the guitar parts to sound correct.

As always, this is a free transcription. So if you're upset that I left something out, then it sucks to be you.

NOTE: See https://youtu.be/3GhoWZ5qTwI for the official video for this song.

One of the things that I like about certain pieces of music is "groove," which is hard to describe in words - but you'll know a good groove when you hear one. Several of the pieces that I have transcribed in the past fall into the "great groove" category, which is largely why I transcribed them in the first place; the groove of each respective piece got under my skin, and today's transcription clearly belongs in that collection.

Without further discussion, here's my transcription of "Shallow" by Porcupine Tree. (See https://youtu.be/tIgONIbYSyY for the original song.)

Here are my notes about this transcription:

• The most-glaring omission from this transcription is the organ part; it's featured in the second verse and in other places, and I didn't bother to transcribe it because - I didn't want to. So there.
• I tried to dial in the piano part, but even I can tell that it's not perfect. To be honest, this transcription was more about the guitar/bass/drums.

FWIW - I originally transcribed this song several years ago, but I was thinking about it the other day, and I decided to revisit it. After making a bunch of changes, I decided to post the revised version as a blog, which will hopefully help someone in the future.

That's all for now. Enjoy!

I had this song stuck in my mind for a few days, and occasionally the best way to get a song unstuck is to transcribe it. With that in mind, here's my transcription of the King's X song "Black the Sky" from 1994. (See https://youtu.be/OtOb2_3YOCE for the original song.)

This piece is a perfect illustration of how cool "Drop B" tuning can be... and transcribing it made me seriously regret selling my 7-string guitar.

Once again, my transcription is pretty faithful to the original, and here are the main differences that I can think of:

• Ty Tabor used a wah pedal to play the guitar solo, but I used an autowah for my transcription playback. That's because I didn't feel like manually notating all of the wah pedal wizardry that Ty was doing. Was that laziness on my part? Perhaps. But the autowah sounded good enough for me.
• At measure 14, Ty changes the chords on the first pass and the second pass through the chorus. However, I wanted to make the transcription a little easier to read/write, so I notated the chords from the second pass through the chorus. Was that laziness again? Perhaps. Deal with it.
• I have to admit, there are parts of my bass arrangement that lend themselves to Tim Starace's excellent bass cover of this song on YouTube. (Tim plays it much better than I would, though.)

On a related side note, I have transcribed a few pieces by King's X, and one thing that I've learned to appreciate is Jerry Gaskill's drumming. I grew up listening to guys like Neil Peart, Bill Bruford, Carl Palmer, Mike Portnoy, etc. In other words, I predominantly grooved to the giants of the Progressive Rock genre. But there are certain drummers - like John Bonham - who lay down a steady groove that underscores a lot of cool stuff that's going on in the rest of the piece. (See https://youtu.be/UvOm2oZRQIk.) With that in mind, Gaskill's drum parts are never mind-blowing, but they definitely create a solid foundation. (And of course, Jerry sings harmony while playing, so he's got that going for him, too.)

It's been a few months since I posted a guitar transcription, but that doesn't mean that I haven't been working on transcriptions - I just haven't been posting transcriptions. That being said, I decided that I was long overdue, so here's today's offering: "Lost in Germany" by King's X. (See https://youtu.be/hoyuCg-Exjs for the original song.)

Once again, my transcription is pretty faithful to the original, here are the main differences that I can think of:

• The primary artistic license that I took was to remove some of the extraneous repeats from the outro, and I added an ending chord since the original recording fades out. That being said, I thought that the A (add 11/no 5) chord that I ended with matches the song quite well.
• In measure 17, Ty Tabor changes up the guitar line for that single measure. However, I elected not to include that because I wanted to use the four repeats to simplify my transcription work. Yeah, that's kind of lazy on my part, but this is a free transcription so deal with it.
• I think I do a pretty good job of nailing Jerry Gaskill's drum parts throughout the song. During the extra repeats in the outro he changes his fill at the end of each four-measure passage, and since I shortened my transcription you lose those.
• I listened carefully to Doug Pinnick's bass parts, and I think my transcription of his parts are pretty close to what he's playing; I couldn't hear anything overly complex, though his groove/timing are really cool.

That's it for now. I have a few other transcriptions in the works that should be surprises, but I have no idea when I'll deliver on those, so don't hold your breath.

Every month or two I decide to transcribe a song; it's a weird hobby, but it's a lot more challenging than Sudoku. Anyway, today's song was "It's the Right Time," which is the only song by Van Halen with Mitch Malloy on vocals. (See https://youtu.be/NBXjQ8FASug for the original song.)

My transcription is pretty faithful to the original - the only artistic license that I took was to add an ending since the original recording fades out.

While I have usually liked EVH's grooves, this song had some particularly interesting parts to it: the main hook for the verses is a four-measure progression, wherein EVH hits the opening chord for each of the first two measures an eighth note before the beat, and he hits the opening chord for the third and fourth measures on the downbeat; this creates a cool groove with a heightened tension, because your ear usually wants to hear the chords hit on the downbeat. When EVH gets to the bridge, he changes accents all over the place; so sometimes he sounds on the beat, while at other times he sounds like he's playing in a different time signature. As a whole, all of EVH's inventiveness on this song results in a really fun piece to listen to; it sometimes sounds like it's not quite right, but in the best possible way.

Note: Mitch Malloy was probably Van Halen's shortest-term vocalist; Van Halen hired him right before the Gary Cherone debacle, although Mitch eventually declined the gig due to a mix-up regarding David Lee Roth. (See https://youtu.be/dxF4WRORQ9s for Mitch's story.)

Nevertheless, back in the 1990s, it seemed like Van Halen was going through a different vocalist every other month. It became kind of a running joke, so Eddie and Alex Van Halen posed for the following milk advertisement:

The text in the advertisement reads:

"Of all the lead singers we've had, most never got enough calcium. Typical. But not for Alex and me. Because every time we change singers, we have an extra glass of milk. That way we're sure to get more than the recommended three glasses a day. As you can see, sometimes all at once."

Every once in a while I decide to transcribe something; just for the heck of it. Tonight I decided on "My Struggle" by "Seventh Day Slumber," which was released 15 years ago.

It's not a perfect transcription, of course - but I only put an hour or so into it. The original song is at https://youtu.be/jXPjEi-l_pg in case you're curious where this came from.

I had a song continuously running through my head, and as I have done before, I decided to transcribe it in order to get it unstuck and move on with life... Tonight's song was "Unchained" by Van Halen, which was a perennial favorite of mine to play live back in the early 1980s. I used Guitar Pro to do the transcription and playback, and while the transcription isn't 100% it's pretty good for an hour's worth of work. Plus, I think I did a pretty decent job of dialing in Eddie's tone when compared to the original.

Note: I didn't transcribe the guitar solo section because the intro, verses, bridges, and choruses were enough to get the song out of my system.

But you never know, I might come back to this later...

UPDATE:

A few years after my original post, I looked over my transcription, and what I called "Bridges" probably should have been called "Pre-Choruses." Oh well... it's a free transcription, so deal with it.