***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.
Ben Goldberg–photo by John Rudoff
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Download the PDF: Concert, Bass Clef, Bb, Eb, A
Blind Paper Dragon, written by Carla Kihlstedt and performed by: Tin Hat (Ara Anderson, Trumpet; Ben Goldberg, Clarinet; Carla Kihlstedt, Violin; Mark Orton, Dobro; Zeena Parkins, Harp). From the album ‘The Sad Machinery of Spring,’ released 2012 by Hannibal/Ryodisk.
So I love listening to and transcribing solos that break lots of rules–and although rule-breaking isn’t a new concept in music (or any other creative activity for that matter), I like to think that it’s largely responsible for the generation of new musical material and original ideas in general. Ben Goldberg breaks lots of rules in this solo, but for as far out as he goes there’s always a strong indication that he knows where the key center/next downbeat is. It’s uncanny, really. And as musically aware Ben must have been to play these killer lines, in an email Ben told me: “I took a nap in the studio and then just walked out in a daze and played that — I didn’t want to be thinking about it too much.” Continue reading
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Download the Transcription: Bb, Eb, C, Bass Clef
Today’s post is a short and sweet Ben Webster solo over Duke Ellington’s rhythm changes tune “Cottontail.” Ben uses a fair amount of repetition to develop his ideas through the solo. In mm. 1-4 he repeats the rhythm while stepping down chromatically each repetition. Each bridge has an idea that he repeats throughout each chord change (mm. 17-23 and 49-56).
Measures 33-40 act almost like an interlude between choruses even though the form doesn’t change. This is also a great example repetition. Each time he repeats the motiv he moves up higher in the register which, along with the diminished sound, creates a ton of tension and a very nice peak to the solo.
This was a slightly challenging solo to transcribe because it is such an old recording and some parts of the solo are very hard to hear because they get covered up by the brass hits. I think the transcription is pretty accurate, but I might be off in some of those spots.
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
This is a really, really cool tune, and I’m really excited to have the opportunity to transcribe a solo that also has video, which we can include in full on the site. So cool of Joe to let us share this with all of you, and congratulations to him on the release of his new album (click the image to navigate to his online store).
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.
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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
(Mark Orton, Carla Kihlstedt, Rob Burger)
(accordion solo begins at 1:20, violin at 2:22)
Download the PDF: Concert, Bass Clef, Bb, Eb
Fear of the South, written by Mark Orton and performed by: Tin Hat Trio (Mark Orton, Dobro; Carla Kihlstedt, violin; Rob Burger, Accordion). From the album ‘The Rodeo Eroded,’ released 2002 by Ropeadope Digital.
This is one of my favorite tunes on the album for its cleverness, lopsided time signature, and killer solos! Rob Burger absolutely tears it up and Carla Kihlstedt swoops in and picks right up where he leaves off, both of them navigating 5/4 time like it’s their respective jobs. Which it is. So there you go. This tune has a very simple chord progression and A/B form which balances out the quirky time signature–and the tuba does a very clever hemiola bassline in the B sections (mm. 17-18, 21-22, 49-54) that’s just charming as hell, and really caught me off guard ten times I listened to it. The combination of simplicity, innovative quirks and killer playing epitomizes the impression I get from this whole album, so if you like this track I STRONGLY suggest buying the whole album.
Photo by Peter Buitelaar
Today’s awesome guest post, which looks at four different Miles Davis solos over the same tune, comes from trumpeter John Raymond. John has a new album coming out so be sure to check it out on his website!
A little bit ago I did a transcription research project on Miles Davis doing the tune “Walkin” four different times over the course of the first part of his career. The recordings I transcribed were:
The original recording – Walkin’ (1954): Download the transcription
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Live at the Black Hawk – Friday Set II (1961): Download the transcription
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Complete Concert/Four & More (1964): Download the transcription
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These recordings give such a vivid display of Miles’ growth throughout the first few decades of his career. They also serve as a vivid display of Miles’ constant search for spontaneous and uninhibited improvisation, as well as his prowess, maturity and evolution in the three primary spheres of improvising: melody, harmony and rhythm.
Download the Transcription: Bb, Eb, C, Bass Clef
Today’s transcription comes from a video that Bob Reynolds posted to Youtube demonstrating playing in 7/4 time on the tune “Out of Nowhere.” I chose this solo to transcribe, because quite frankly I’m pretty terrible at playing in odd-meter and I wanted to have a good example to practice along with; an etude of sorts. This solo comes pretty close to that while still retaining a genuine/musical feel that I think etudes tend to lack (especially jazz etudes). Besides, there are some really killer phrases that go across the entire range of the horn that I really wanted to learn.