Category Archives: Other

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

Posted on by
Reply

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

Ingrid Jensen, Transit

Posted on by
Reply

***Download the PDF: Bb, Concert, Alto, Bass Clef


(Ingrid’s solo starts at 2:48)

First of all, I’d like to send a quick shout-out to Darcy James Argue, who wrote this award winning (Charlie Parker Composition Award, 2004) piece, and is the leader of currently my favorite big band record, Darcy James Argue’s Secret Society, Infernal Machines, on which this Ingrid solo is lifted. I am constantly inspired by Darcy’s music, and he is a big influence on my own big band writing.

Continue reading →

Trombone Shorty, Backatown

Posted on by
Reply

 

Download the PDF: Bass Clef, Concert, Bb, Eb

Rhythm. What can be more definitive in music? Rhythm is what drives music forward, particularly in music that derived from African roots like jazz. Trombone Shorty knows all about rhythm. He’s one of those New Orleans guys who never really shook that New Orleans attitude in his playing (thankfully). Trombone Shorty’s playing on this track especially, is derived from New Orleans Brass Band trombone playing. He approaches his solo very rhythmically, and doesn’t vary the notes he uses hardly at all. I think he steps outside the notes of the Eb minor pentatonic scale maybe once in this entire solo. The information is not in the note choice, but in the rhythmic development. Continue reading →

Bob Reynolds, Vultures (Live)

Posted on by
Reply

Download the transcription: Bb, Eb, C, Bass

I’ve always been more of a straight ahead/bebop kind of player and since my main gig is with a pop band I’ve been looking towards some more pop oriented influences to help myself feel more comfortable soloing in that style.  The real lesson in this transcription is in the inflections, articulation and use of grace notes; I think that is really what makes this style come alive so to speak.  I tried my best to notate some of the more distinct articulations and grace notes, but you really are going to have to spend a lot of time just listening and following along with the transcription to pick up on these things.

Continue reading →

Confessions To My Unborn Daughter, Ambrose Akinmusire

Posted on by
Reply

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download the PDF: Bb, Concert, Alto, Bass, Clef

Ambrose. My newest obsession on the trumpet. It took me months before I could remember his name “uhh…it’s this long name and starts with A, but he’s ridiculous!” but I’m sure I’ll never forget it. Ambrose is the perfect mix of math and emotion. Right when you think he’s lost you in a solo, he reels you back in with a sweet, warm melody, or just a straight up funky blues lick. Ambrose’s sound is mesmerizing. It’s always the first thing you hear, the sound of the instrument. Before all the licks, and all the “finger flapping” as Ambrose so humbly (he’s clearly full of it) calls it, you hear the sound. Just the pure sound of the instrument. Your sound is the #1 most important thing in your playing. It might sound weird, but I truly believe that. How can you tell when it’s Miles? It’s that sound. Dizzy? Louis? Clifford? Same thing. It’s their individual sounds, sometimes brittle, other times hypnotic, that make you go “No doubt about it, that’s Lee Morgan.” Continue reading →

Dave Douglas – November

Posted on by
Reply

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

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

**

Anyone that knows me, knows that I love me some Dave Douglas. Dave has been a huge influence on me both as a writer and a trumpet player, and this particular solo has been one that has haunted me for many years. Dave is a lyrical master, and this solo is a perfect example of his prowess. Almost the whole solo is played over a simple I (vi), ii IV V progression, but its basically just Bb major the whole time. His two horn writing is really some special as it is on display on this track.

continue reading! Continue reading →

Guest Post by Todd Clouser: Peter Bernstein, Played Twice

Posted on by
Reply

(Peter Bernstein – Photo by Carlo Pecoraro)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download the PDF: Concert, Bb, Eb, Bass Clef

Peter Bernstein plays jazz guitar the way I love to hear it played. Even with the wealth and density of harmonic and rhythmic concepts he employs, its all feel. Nothing takes precedence over feel, and its uniquely his own.

Continue reading →

Roy Hargrove, Strasbourg/St. Denis

Posted on by
1
Photo By Pieter M. van Hattem – courtesy of <vervemusicgroup.com>

 

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download the PDF: Concert, Bb, Eb, Bass Clef

Roy is one my favorite trumpet players of all time. His mix of hard bop and soul/gospel in his playing is exactly where I want to be as a player, so I tend to listen to a lot of (too much?) Roy. This tune is no exception. It’s from his record Earfood, which is pretty much a standard quintet record, except it has this track on it, and this track really just blows away the rest of the album, as good as it is. Everyone on the record plays great throughout, but it’s like they were all born to play this tune. Each solo builds on the last creating a track that ebbs and flows just right, until you’re hitting the back arrow on your ipod to listen again.

It’s seriously so good.

Continue reading for analysis: Continue reading →

Guest Post by Ari Nahum – Brad Mehldau, Wonderwall

Posted on by
3


Photo courtesy of Brad Mehldau

Wonderwall, written by Noel Gallagher (Oasis) and performed by: Brad Mehldau, piano; Larry Grenadier, bass; Jeff Ballard, drums.  From Brad Mehldau Trio Live, Nonesuch Records 2008.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download the transcription: Concert Pitch

I remember the first time I heard this song.  I was in the kitchen cooking and I turned on the radio to Jazz 88 FM.  Brad was about a third of the way into his solo when I first tuned in.  I remember that almost instantaneously I knew it was him.  This was somewhat expected as once you come to know a great player’s voice it is as easily recognizable as your Mom’s.  But after listening for about 10-15 seconds or so, something else happened, something that perhaps speaks more uniquely to Brad’s playing – I knew he was playing the tune “Wonderwall”.  I had never ever heard this tune in a jazz context before, and the last time I heard it was probably in high school.  Furthermore all of the harmonies had been thoroughly changed.  But I knew, without a doubt that he was improvising on the tune Wonderwall.  And when his solo ended and he came back in on the bridge I just smiled, shook my head and chuckled to myself.

Continue reading →