Category Archives: Form Type

Elena Pinderhughes’ Solo on Letter to the Free – From Common Tiny Desk at the White House

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Transcription: Eb, Bb, Bb with Octave Adjustments, C, Bass Clef

Recording: Letter to the Free – Elena Pinderhughes Solo

OKAY

So…it’s been a while. I’ve transcribed and learned many solos since my last post, but I’ve also started teaching at McNally Smith College of Music in St Paul and have toured with several bands all over the world since then too, so it’s been a little crazy. Naturally, the solo that would make me want to post here again would be a….flute solo? Yes. A flute solo.

SKM, meet Elena Pinderhughes. I’ve been checking out Elena’s stuff since I starting learning one of her solos on a Christian Scott album. The thing that stands out the most about her playing is her feel. Her feel is ridiculous. I learned this solo by ear first and played along trying to match her feel throughout the solo. That’s recommendation #1 from me as you start to learn this solo. That’s not to say her note choice isn’t – how did Ferris Bueller say it? “choice” – because it is.

Not unlike a trombone shorty solo I transcribed a while ago and posted here, Elena primarily uses the pentatonic scale throughout her solo, with a few major/natural minor scale uses and a couple spots where she’s playing borrowed pentatonic scales. For instance, she slips outside the key and plays in C major (over a tune that I hear as being in Eb major) for a measure, which actually corresponds with a passing chord Robert Glasper is playing that includes that E natural (Cadd9/E) — It should be said that I copied and pasted the progression over the solo (thanks to my dudes Reid Kennedy and Kevin Gastonguay for taking a listen and giving me their harmonic opinions), and it’s possible Glasper is playing something different in the Cadd9/E spot when it comes around each time. You often hear him slip in and out of keys a 1/2 step away, so it’s hard to put a definitive finger on the progression.

Later in the solo, Elena plays the Bb major pentatonic scale (second half of measure 10) temporarily before moving back to the Eb major pentatonic. I love the sound of two closely related pentatonics being used. When you’re messing with this idea on your own, try playing over a Ima7 chord using the major pentatonic scale starting on the second scale degree (which will give you the 9, 3rd, #11, 13 and ma7). Then try the same idea starting on the 3rd a scale degree for a more dissonant sound. Continue up the scale and see what sounds cool!

Enjoy this super killing solo (and band!) – the entire concert can be seen and heard here: https://www.youtube.com/watch?v=2AChGszRGwI

Guest Post by Marc Adler: Autumn Smiles

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Download the PDF: Concert

This post was very generously provided by Marc Adler, a fantastic flutist and pedagogue out of PA. The above track is off the album Autumn Smiles played by Marc Adler, flute; Jim Ridl, piano; Darryl Hall, bass; Butch Reed, drums; and John Swana, trumpet. Marc sent along a “brief” analysis of the tune (below) which may not look brief on first glance, but compared to the subtlety of the recording it’s just the tip of the iceberg. And since we’re already getting the inside scoop on the music theory behind this tune–the skeleton of the music–I took the opportunity to ask Marc about the soft/squishy side of the music. Continue reading →

Guest Post by Italo Sales: Wes Montgomery, Four on Six

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Download the transcription: C

Listen! Four on Six

Watch Italo’s Transcription Video! http://youtu.be/iHlo0dDFQb0

This solo is a masterpiece by Wes. There’s everything you’re used to hearing in his improvisations: Double stops, quartal structures, tritones, pentatonic ideas, dorian phrases, fast and wide arpeggios and his famous octaves all along his last choruses. That’s probably because it was recorded in 1965 (only three years before his death, in June 15th 1968 – 45 years ago) with the wonderful Wynton Kelly Trio. It’s really a solo to remember by all guitar students and improvisational musicians.

Guest Post by Derek Dreier: Herlin Riley, Evidence

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Download the Transcription: Drums

Listen to the Solo

Watch a video of the solo being performed by Derek! — http://www.youtube.com/watch?feature=player_embedded&v=OAEaf_qHunU

The transcription features Herlin Riley’s playing on “Evidence” from Wynton Marsalis Septet’s 1999 multi-disc release Live at the Village Vanguard. Monk’s writing, exemplified in “Evidence” is rhythmically unique, often jagged and deceptive, a quality which gives drummers many possibilities. Herlin’s choices are tasteful, organic and exploit the rhythmic opportunities Monk provides. Herlin plays with triplet vs. sixteenth and straight vs. swing ideas, and moves in and out of downbeat and offbeat oriented phrasing. All of which reflect the similar off-kilter effect the tune’s melody has. Also, notice the two busiest portions of the solo, (m.49-56 and m.73-76). The first example phrases triplets, with the latter phrasing sixteenths, demonstrating smart soloistic flow and development. With its phrasing, and creative rhythmic ideas, this transcription stands out as a fun and excellent example of musical drumming.

Guest Post from Jason Fabus: Cannonball Adderley, Corcovado Take 2

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Download the Transcription: Eb, Bb, C

This is actually an alternate take of the Jobim standard Corcovado done by Julian “Cannonball” Adderley from the album Cannonball’s Bossa Nova.  It has got to be one of my favorite albums of all time, and Cannonball shows why.  He has a very effortless way of playing, especially when attacking a difficult passage.  Please do listen to the recording to hear this.  While I may have notated all the notes, Cannonball does a great deal of “ghosting” notes throughout the section, gliding from phrase to phrase.  Challenge yourself not only to perform the notes with accuracy, but also the the style in which Cannonball presents them.

 

Guest Post from Sumner Truax: Miles Davis, So What

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(The solo starts around 1:33 in the video)

[Thanks to Sumner Truax for today’s guest post!  Check out more of Sumner’s transcriptions and phenomenal classical recordings over at www.sumnertruax.com]

Download the Transcription: Bb, Eb, C

Kind of Blue is one of the most iconic jazz albums recorded to date.  This track and this solo are probably the most well-known recordings on that album.  Miles is one of my favorite horn players because everything he plays sits so perfectly in the pocket.  On this recording especially you can hear him playing primarily on the back side of the beat.  It sounds so effortless!  This is also a great study in melodic development since most of these ideas are just triads!

Park Evans, Could you be Deceived?

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Satori for a Hungry Ghost - Parker Paisley

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Download PDF: Concert, Bass Clef, Bb, Eb

This is another track off the album Sartori for a Hungry Ghost by local (Twin Cities) jazz/reggae group Parker Paisley (Park Evans, Guitar; Adam Wozniak, Bass; Brandon Wozniak, Tenor Sax; Pete Hennig, Drums), released April 2012 and recorded by Greg Schutte at Bathtub Shrine Studios in NE Minneapolis.  I love listening to this entire album so definitely check it out–and if you like this solo then you’ll want to see/hear Adam Wozniak’s bass solo on the tune Third Persona, which I posted a month and a half ago. One of the really cool things about Park’s solos on this album is that they’re all different–in style and tone.

Continue reading →

Dexter Gordon, Love For Sale

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Download the Transcription: Bb, C, Bb_8vb, Eb

I’ve always loved this solo and when I had to pick a tune to memorize and perform in my improvisation class back in 2006, I jumped on the opportunity to learn this one. Dexter has this uber hip, uber cool way of playing that is so attractive to me. In one line he can play something totally inside the groove and in the next he’s laying his lines so far back the band finishes the tunes before he does. Continue reading →

Joshua Redman, Straight, No Chaser (pt 1)

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(The transcription starts at 1m35s in the video.)

Download the Transcription: Bb, Eb, C, Bass Clef

This is a great tenor battle between Joshua Redman and James Carter on the classic Monk tune “Straight, No Chaser.” This first transcription is only Joshua’s first four choruses. I’m planning on completing most (if not all) of the rest of this video over a series of 4-5 parts since it is quite lengthy.

Redman and Carter clearly have different approaches to the instrument and I find it very interesting to see how one kind of leads the other. In an aesthetic sense, I definitely prefer Redman’s style over Carter’s, but the two are so different and both players are clearly talented that I think it’s useless to talk about who “won” the battle. Though, if you read the youtube comments you’ll see there are fierce defenders in both camps. I think both players offer plenty to learn from. More to come in following posts. Happy shedding!

Matt Turner, I Fall in Love too Easily

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(Matt Turner)

 

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Download the PDF: Bass, Treble, Bb, Eb

(click album image for purchasing details)

Matt Turner is a fabulous cellist and pianist based out of Appleton, WI where he teaches improvisation at Lawrence University (all three of us SKM contributors are LU alums).  Matt plays with pianist Bill Carrothers, and has also played a fair amount with local Minneapoils group the Fantastic Merlins (visit his home page for the full discography–it’s extensive).  From listening to this solo you might be able to tell that Matt’s musical background involves a certain level of mastery of jazz piano, as the harmonic implications of his melodic lines are very clear and intentional.  This is very different territory from the totally modal Eugene Friesen solo I posted a while back, as there are some nasty changes to navigate, and huge lateral flexibility as there’s no rhythm section.

Continue reading →