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James, who plucked with his two fingers through-
out, “ere was a sense of building our parts as we
went along, so we started more simply and devel-
oped from there, giving them different approaches
and increased intensity. I tried to channel the era
and the vibe we were honoring, while attempting to
add a fresh spin and my own style.” At C, the narra-
tion stops and a sequenced keyboard loop takes the
lead. Genus plays a similar figure sans the octaves
for the first 16 bars before returning to octaves
for the next 32 measures (where strings enter). At
letter D the strings recede, the loop continues, and
Caswell begins soloing on Rhodes. James responds
with rhythmic variations and the use of the 7th of
the Am and Em chords, ultimately
adding 10ths in the climb from the
Dm chord, culminating in the har-
monic chord in the last two measures.
e keyboard loop ceases at letter
E, and Caswell’s jazzy Rhodes solo—
for which Genus switches to thumb-
and-palm-mute—settles into a sambafeel, and ends with a cool fill over the
Em chord. “We may have done this
section over, after they liked it from
the original jam; I remember doing a
few passes of Chris’s solo.” Letter F is
a breakdown and orchestral passage,
as Moroder’s narration returns. is
gives way in sharp contrast, at G, to
a portion of the jam where, with the
keyboard loop and strings returning,
Omar Hakim lets loose and James
DAFT PUNK’S BACKWARD-LOOKING, FORWARD-LEANING
album Random Access Memories picked up five 2014 GRAMMY Awards,
in the process shattering all kinds of conventions about songwriting and
producing, and man-meets-machine. While Nathan East, who appears on
more than half of the album’s tracks, rode his percolating part on “Get
Lucky” all the way to the top of the charts and a GRAMMY performance
with the French dance duo, New York-based session ace James Genus
made his own significant six-track contribution. e Saturday Night Live
bassist’s boldest track is the nine-minute “Giorgio by Moroder.” He laughs,
“Nowadays, you don’t think most of your part is going to be used; artists
find the four or eight bars they like and pretty much run with that. While
we were recording ‘Giorgio,’ I remember thinking, ey’re not gonna use
all of this on a pop dance song—especially the back end, where we took
it pretty far out. I was shocked when I heard it all on there!” Keyboard-
ist Chris Caswell, who had worked with Daft Punk in the
past, recommended Genus and drummer Omar Hakim
(as well as Nathan East and dr ummer J.R. Robinson, for
an East Coast/West Coast flavor), and in May 2012 the
three set up at Conway Recording Studios in Los Ange-
les, with Daft Punk behind the board. James—on head-
phones—sent his signature Fodera 5-string (strung with
month-old La Bella roundwounds) direct.Regarding the song’s structure, Genus offers, “ey
gave us the general vibe they wanted, and the changes to a
16-bar phrase. ey had us jam on it for about ten minutes,
to a click, and then they put together the song using var-
ious 16-bar sections from the jam.” e track begins with
autobiographical narration by legendary producer Gior-
gio Moroder, as the band, mixed lower, plays through the
changes. At letters A and B, the narration continues with
the band now front-and-center in the mix. James plays
an octave-style pattern that was either developed while
jamming or presented as a basic shape by the duo. Says
B Y C H R I S J I S I | P H O T O G R A P H B Y A D R I A N A M A T E O
C O N N E C T
INFOi
• Hear “Giorgio
by Moroder.”
• Herwig Scheck
performs histranscription of
“Giorgio.”
• Follow James
Genus on Twitter.
bassplayer.com/
august2014
“Giorgio By Moroder” by Daft PunkJames Genus’ Complete Bass Line
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follows in spirit. Of note is his steady-16ths start
(“I was thinking, Rock out”); his use of the open
E to bounce off, in bars 168–169; and whooping
slides in 172 and 173. With the strings out at letter
H, Hakim stretches even fur ther. Genus reacts
by leaving more space at the end of measures, in
bars 184–195, before unleashing another auda-
cious Em fill. e Daft duo drops out everything
except James and Omar at I, spotlighting their
like-minded feels (the pair have played together
since the early ’90s), as well as James’ ability to
riff or take an upper-neck journey without ever
losing the groove. At letter J the keyboard loop
becomes the timekeeper, as Hakim plays solo fills,
with disco-era drum “woops” added to his sound
by the duo, after the fact. Genus again responds
accordingly, leaving space while creating inter-
est. Finally, L brings everything back in, plus
Paul Jackson Jr.’s guitar solo, for a full-on finish.
Genus sites “Motherboard” as his other favor-
ite contribution to the album. “I came up with this
four-bar muted phrase that they had the guitar
player copy, and then I played variations of it.”
As for “Moroder,” he advises, “e key is to be
in the moment; be aware of the groove and the
tonality of the changes, and maintaining them,
and make music out of it from there. Feel-wise,
I tried to be right in the middle—but especially
toward the end, we’re pushing it. It has a for-
ward motion, so drive the track.” He adds, “It’s a
dance tune. Daft Punk was dancing in the booth
while we cut it; that’s a good focal point to keep
in mind.” BP
“Giorgio By Moroder” by Daft Punk Transcription by Chris Jisi & Herwig Scheck
Intro
Am Em
(Bass plays sparselyover Letter A changes)
5
7 7 7 7
5
7 75
5
7 7 7 7
5
7 7
(5)7 6
= 114
Med. dance
A
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21Am Em F
5
7 7 7 7
5
7 7
5
7 7 7 7
5
7 7
53 1
3 3
1
26G Dm Em F G
3
5 5
3
5 5
3 5
7 7 7 71
3 3
0 1 2 3
5 5
31Em Am
5
7 7 7 7 7 7 7 7
(Bass continuesin similar style)
97
(0) 5 5 5 5
B C
55Em Am
5 5 5 5 5 55 5 5 5 5 5 5 5 5 5
7 5 5 5 5 5 5 5 5 5 5 87
60Em F G Dm
5 5 5 5 5 5 5 5 51 1 1 1 3 3 3 3
3 3 3 3
65Em F G Em
5 5 5 5 5 51 1 1 1 3 3 3 3
5 5 5 5 5 5 5 5 5 5
70Am Em Am
5 5
7 7 7 7 7 7 7 7
5 5
7 7 7 7 7 7 73 5 5
7 7
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bassplayer.com / a u g u s t 2 0 1 4 71
75Em F
7 7 7 7
3 5 5
7 7 5 6 7 7 7 70 3 0 1 1
3 3
5
7
79G Dm Em F G
3 3
5 5 3 25 5 5 5 5 6 7 7
9 9 9
7 7 8 8 8 8 8 9 10 10 10
84Em Am
7 7 7 5 6 7 7 7 7 7 7 7
5
(Bass continuesin similar style)
5 5 5 3 5 35
5 5 3 5 5 5
D
104Em Am
5 5 5 5 3 5
7 7 57
7 7 5 7 7 75
77 7 5 7 5
77 7 7 7 5 7 7 7 5
108Em F G
7 7 7 5 7
9 99
7 7 5 7 7 7 7 8 8 8 8 7 8 85 5 5
75 5
8 7
112Dm Em F G Em
5 5 57
10
7 7 79
7
129
7 10 810
14
8 9 1012
1617
0
55
118Am Em Am
57
7 5 7 5 77
7 7 7
5 5 57
79
79 9
75
7 77
77
7
E
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123 Em F G
5 5 5 5
7 7
5 87
57
78 9
99 9
79 (9)
9 88
89 10 7
8 9 10 53 3
5
1
128Dm Em F G Em
35 5
51
3 4 57
77 7
8 68 8
(10)
6 6 6 6 7 8 8 8 8 8 8 8 5
(9)9 7 9
133Am
79 7 5 7
45
Breakdown
(bass plays
like Letter C)
7 57
H
3 5 5 5 5 5 5 5 5 57
5 6 7 7 7 7 7 7 7 7 58 7 5 0 3 0
F G
168Em Am
0
2
H
0 2
0
2 2 2
0
5
0
4
0
5
0
H
4 5
0
0 2 0 20
2 0 22
2
0 0 0 3 5 5 5 5 5 5 5 55 7
5 6 7 7
171Em F
7 7 7 7 7 58 7 5 0 3 0
0 0
S
05 7 7 7
12 9
00
00
12(12)
S
1 1 1 1 1 1 1 18
175G Dm Em F
3 3 3 3 3 33 3
57
(5) (5)5 (5) 7 7
5(7) (7)
4 5 7
57
5 7 3 0 1 1 13
3 3 3 3 3
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179G Em
3 3 3 35
5 5 5 (5) (5) (5) 55 7 7 7 7 7
(play sextuplets in right hand while sliding)
(7) (14) (2)
182Am Em
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 55 5
3 5 5 5 5 5 5 5 87
5 5 5
7
5 5
7
5 5 5
7
5 5
77
5
H
186Am Em
5 5 5 5 5 5 5 5 5 5 5 5 87
5 5 5
7 7 7
5 5 5
7 7
(5)
53 5
5 7
190F G Dm Em
1 1 1 1 1 1 (1)(1)(1)(1) 1 3 3 3 3 3 3 3 3 3
5
3
5
3 (3)(3)(3)(3)
2 2 2 2 2 2 02 0
3 0
194F G Em
1 1
3 3 3 3 3
S
(3)
3 5 (3)
5 5 5 5 5 5 5(12)
(12)
5 5 5 5
7 7 7 7 7 7
H H H
7 97
9 7 7 97
9(7) (7) (7)(5)(5)(7)
7 9
198Am Em
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 35 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 3 5
I
202Am Em
H
3 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
97
75 5
8
S
75
5 5 5 5 5 5
H H H
5 75
77 7
5 5(7)
7 7
(5)(5)(7)
(5)(7)
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206F G Dm Em
1 1 1
H
0 33 3 3 3
(1)(1)(1) 3
5 5 5
H H H H H
75 (7)
3 5 35 5 3
5 5 33
1(3)
1 1 13 5 5
77
(7)7
5 (7) 5 7 5 3
210F G Em
1 1
S S(3) 15
03
(5) 5 50 (12)5 (5)
7 7 7 7 7 7 7 7 7
S
(7) (9) (9)
9 7
(4)
5 5
5 7 5 5 5 6 7 5 5 3
214Am Em
5
7
S S
3 5
7 (7)
(5) 0 3 5
7
3 5
7 7(7)
5 5 5
7 (7) 7 7
7 4 7 45 5
(7)
J
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218Am Em
3 5 5
7 (7)
SS
3 5 5
7 7 57 7 5 5 3
125 5 5 5
7 79
(7) (7)7 5
7
S
12
222F G Dm
1 1 1 1
3 3 3
1 1
3 3
1 1 3 3 3 3
5
3
5
3 3 3 4 5 5 5 5 53
53
53
5
225Em
F GEm Am
2 2 2 2 2
0 0 0 0
2 17 15 1917 17 12 12 5 5S
0 12
S
(Bass continuesin similar style)
0
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