Chris Squire Bass Transcription: The Remembering

DISCLAIMER: I make no money from this, but some might, so to them the spoils.

PDF available at https://tinyurl.com/TopoRem

Another outstanding Miguel Falcão cover, now updated and remastered as one track rather than two here    • Chris Squire's FRETLESS BASS MASTERPIECE -...  

Please watch for how to fret.

See more of Miguel’s work at http://miguelbass.com and do support him on https://www.patreon.com/miguelfalcao

****

“The folky one” –

As Chris played this piece on a Guild fretless, there are many slides/glissandi, some of which are specific articulations, but others which are just the result of the fretting hand’s movement; I’ve scored many, but to include them all would have made the whole thing look like a nest of pins.
Do however see in the “Relayer...” and following instrumental sections, esp bars 213 (10:54) and 279 (13:26) onwards, that I have used combinations of cross-headed notes and glissando marks to approximate as best I can where specific pitch becomes undiscernable due to very fast fretting movements.

Note-length choices are always arguable, eg whether something’s a quaver versus a staccato or even marcato crotchet.

As usual in my transcriptions, the key sig doesn’t necessarily indicate a classical root tonality.

Miguel isn’t playing those harmonics in the introductory bars, but I’m 99% certain they’re present.

For the first theme it might have been more accurate to use a sig of 3+4/4 rather than the rather broad 7/4, but I didn’t want to overburden the score with changes. The 7/8 at bar 21 (01:36), while anomalous-looking, is there to follow the vocal line.

It’s quite common with Yes music to find that rubato sections can (with a degree of faith) be counted, so I have done so where possible, scoring with chord symbols to indicate the essential ideas. In the long passage from bar 326 (15:51), it’s very much the Mellotron chords I’m following, not the synth or guitar noodling. However, Rick’s beautiful tune at bar 122 (08:13 and elsewhere) proved immune to any attempts to measure, so I’ve scored those instances far more regularly than their execution, showing the melody in the score so that where Chris comes in underneath it’s easier to follow.

Bar 140 (09:16) – there’s no countable cue I can discern to help to come in precisely with the “Don the cap” section. Sorry. The vocal line here is very much in 3/4, although the accompaniment feels more 6/8, so the entire section is scored as a hybrid. There are fewer repeats than one might imagine, thanks to all the different ways Chris finds to play that A-E-A figure.