By request, here is the transcription of Candy Dulfer’s Alto solo from the 1990 Knebworth concert with Pink Floyd. Requests like this are a win-win: You get the content you’re looking for, and I discover new material that I wouldn’t have otherwise run across!
I was unfamiliar with this performance until one of my readers turned me on to it. I was unaware that Candy had worked with Pink Floyd, and this has clearly been out there for a while! The only source material I could find was a YouTube link. The quality isn’t great, but it’s good enough.
This one was really tough to transcribe and play. There aren’t any particularly hard technical passages – it’s all about the rhythms. I clearly don’t work in 6/8 enough! It’s also slow, which makes everything harder because more notes are getting squeezed in to a single beat, so you have to subdivide like crazy (in 6/8)! Halfway through, the time doubles up to a 12/8 feel. You can try to feel it in 4/4, just don’t lose that triplet.
Candy has lot of cool lines as usual, and plays back and forth between the flat five (sharp eleven) and the natural five, giving it a nice bluesy feel overall.
Here’s another Brecker solo from the Wiz. It’s from the first “Ease on Down” rendition, when Michael Jackson and Diana Ross first find the yellow brick road and start dancing across the bridge. For some reason, the solo is heard in the movie, but noton the soundtrack! On the soundtrack recording you just hear the rhythm track with no solo. I don’t know why they did it that way, since the other soundtrack recordings seem to be identical to what is used in the film.
Once again I’m using the EHX Riddle: Q-Balls to replicate the auto-wah effect that he used. I’m using mostly the same settings as the previous post, although I turned the ‘Q’ knob down a bit to about the 3 o’clock position. I also realized after the fact that I had some reverb on in the effect chain. Next time I’ll kill that – it’s too much!
He plays an eight-bar solo, and then doubles the horn line for two bars before the vocals come back in. He sticks pretty closely to the minor pentatonic blues scale, but also juxtaposes the major and minor third (or sharp nine) against each other a lot.
Just like the other solo, he does a killer altissimo run at the peak of the solo. I confess I had to punch that one in, I’m sure you can hear the edit on the recording 😉
I’ve been traveling for work, so no video this week. I wanted to finish up the Poppy Girls solo, and I knew that the back half was going to be too technical for me to play anyhow. So I’m posting the remainder of the solo this week (both parts in one PDF for your convenience)
My business trip was extra long, and I wanted to keep making progress, so I worked up a little hotel room rig that would allow me to keep transcribing on the road. These days I pretty do about 90% of my transcribing on the piano instead of the saxophone anyways, so I’m used to not having my horn handy. It’s quicker for me, and quieter for my family 🙂 This also lets me transcribe straight in to Finale and I generally work in concert key as a result.
For this week I went old school and did my transcribing by hand. I picked up a little pocket-sized book of staff paper at a fancy paper store in San Francisco. I put Transcribe! on my laptop, and a little virtual piano app on my tablet. Transcribe! has a built-in piano but it sounds awful and since I don’t have a touch-screen laptop, it’s not very convenient.
All of this worked pretty well, with the only real problem being that I had two sound sources and no way to mix them. The tablet speakers are good enough, but the laptop speakers are terrible, and you really need good quality sound to pick out the pitches. At one point I had one earphone from each in each ear. I’m not quite sure how to solve this without making it complicated, but it worked well enough.
So here’s the full Poppy Girls solo. The second part is pretty involved (it’s three pages and the first part is only one page). Lots of hard altissimo and technical runs. I did some spot-checking after transferring from my notebook to Finale, but there may be some typos along the way, please forgive me!
Here’s another Michael Brecker solo from The Wiz. This one is an extended solo in two parts. I’m still working on the second part (which is much longer and harder), but I want to queue this up before I leave the country for a few weeks!
This is basically The O’Jays “For the Love of Money”. An extended solo over the groove with no melody. Super funky!
Once again, I’ve done my best to replicate the effect with the EHX Riddle: Q-Balls. This time I dialed back the ‘stop’ knob just a bit because I felt like I was getting too many high partials in the tone.
I barely had time to work this one up, and I totally botched the high part (what else is new)! The opening develops an idea sliding down from the 7th to the 3rd, playing with the time. There’s the usual pentatonic runs throughout, but he also plays around with the b5. Right before the big run up he does a cool rhythmic pattern between the 7 and the root.
It’s nice to hear a funk solo where Brecker can really stretch out. He develops the ideas rhythmically really well.
I’ll probably just post the full transcription when I’m done with no video. I can already tell that it’s out of my league! Michael Brecker man…
The Wiz is probably my favorite musical of all time. The music is just amazing. Or course Diana Ross and Michael Jackson stand out, but the backing music is also worth a listen. In case you didn’t notice, that’s Michael Brecker blowing on all of those tracks!
He’s using some kind of auto-wah effect. The technology was probably a lot different in the 70s, but I’ve done my best to replicate the effect with the EHX Riddle: Q-Balls.
I set it on the high-pass filter mode, and pretty much turned every knob to its most sensitive settings, but with the start/stop knobs set around ’10 and 2′ respectively (clock face settings).
The solo itself is pretty short and sweet, but very funky. He sticks to the blues scale almost exclusively. He makes great use of repetition. Bar three calls back to bar one. Bar six calls back to bar five. The peak of the solo is a run that doubles (perfectly) up the octave leading up to the altissimo b5. That run is still super tough for me. I can nail it at 80% speed, but didn’t have time to work it all the way to 100% this week. I spent too much time futzing with the new pedal!
Since I’m still unable to play due to my jaw surgery recovery, I might as well break out the Brecker transcriptions!
Actually, this may be the only one I’ve done. I’m certainly no Carl Coan! Brecker’s stuff is impossibly hard to transcribe and play, and this solo is no exception. So I’m sure that it’s full of mistakes, but it’s the best that I can do.
I can play the first half reasonably well, but things get crazy in the second half (in typical Brecker fashion).
I recommend learning the first part if you can. It’s quite approachable, and has some great ideas. The first eight bars are a master class in developing an idea.
The next four bars play with rhythm and space, and then the next four bars add some interesting harmony and layer in some intervals to provide some contrast.
Brecker does an amazing job on this harmonically simple song. He brings in such rich ideas. He had such breadth and depth in his playing, it’s a tragedy that we lost him so prematurely.