...solo in Lucille... Thought i wouldve had a few more characters to play with in the title.
anyway,
i'm having a crack at transcribing it. was wondering if anyone here has tried it. its only 12 bars. ive got a first draft of the notes i think he uses in the phrases but i cant match his phrasing. anyway...
i think the first phrase, which takes 4 measures is B Bb B C B Bb G F# D
over measures 5 and 6 i think he's playing a lick D F G A F G, D F G A F G
followed by a pickup G B C then on measures 7 and 8 its a slurry phrase starting with D D D C Bb G F# G. The more i listen the less certain i am..
then AAGA AAG Bb AAGA AGA AG AAA G AAA G
i know without timing its probably pretty hard to look at..but ive been at it awhile and decided to put it out there...hopefully i'll learn something
Last Edited by SuperBee on Jan 13, 2016 4:54 AM
-Man, he's a good one to transcribe! I'm here at work so don't have an instrument, so what key is the tune in? I've transcribed a lot of Lee Allen, for sax, but never thought of trying to transfer that to harp. great idea! The first phrase starts at the root note and bends down to the b7th, then comes back up to root. That phrase continues with 6b71#7b765. Mirroring the melody. If nobody else does it, I will get out the horn tonight and finish it for you. --------- For every moment of triumph, every instance of beauty, many souls must be trampled. HST
Last Edited by Blowhead9 on Jan 13, 2016 8:18 AM
Oops. I think that instead, it starts on the b7th and bends down to the 6th! It's not that hard, should be able to work it out, but I really need the instrument. Lee rarely strayed from the minor pentatonic or blues scale. He was all about phrasing and time, like all good blues player I reckon. ---------- For every moment of triumph, every instance of beauty, many souls must be trampled. HST
Thanks for checking it out. I kind of started out assuming he kicked off on the flat third. Song is in G i believe. But i could be right out of line. I also expected to see something which made sense with a scale and i dont get the scalar sense of what ive picked for bars 5 and 6...2nd, 4th, 5th, 6th..
I can't listen right now, but if he's in G and playing a lick using DFG and A on bars 5 and 6, he could be staying in the key of the piece instead of playing over C, the IV chord. So then it's 5 b7 1 9th. Which would make more sense if instead of the 9th he was playing the major 3rd of the key, B, instead of the A? Anyway, I sjhould probably quit speculating before people get irritated. ---------- For every moment of triumph, every instance of beauty, many souls must be trampled. HST
My pleasure, SuperBee. I'm not absolutely certain about the lick at the beginning of measure 8, he rather fudges it a little, and I couldn't remember the correct notation for a slur so I just used the line tool in Finale.
Edit: It's interesting to note that the entire thing can be payed on a diatonic using regular bends.
Last Edited by Dr.Hoy on Jan 13, 2016 4:26 PM
Nice transcription! Db puts him playing in F on tenor, a good key. So, I was almost right. What he does is start on the b7th bent down almost to the 6th, let it up to the b7th and then back down. Tension and less tension.
How about that turnaround? Nothing but rhythm. ---------- For every moment of triumph, every instance of beauty, many souls must be trampled. HST
I'm trying to nut this out, with my limited understanding. Blowhead, can you explain how Db puts him in F on a tenor please? And in Dr Hoy's chart I'm seeing the first note is A#/Bb and second note B, followed by the A#...so this would be the 6th, b7, 6th movement that you refer to Blowhead? Now I am wondering about Dr Hoy comment that it can be played on diatonic using standard bends. So I am thinking how I would manage that movement. What I mean is that in second pos it's not really practical to start it on the lowest position because no 3rd below, and so I'm up on the 5th chamber and it's all a little nice to use the blow draw blow...can bend that 5 draw of course...better stay calm... Am I reading that right? At the end of measure 2/start of measure 3, that's F#/F? Which is same as the 4th and 3rd of C#? Sorry, I'm quite a newb at reading charts especially when the sharps and flats are breeding.
Last Edited by SuperBee on Jan 13, 2016 5:53 PM
No, actually I can't. Because to be correct it would put him in Eb. Sorry about that. Because tenor saxophone is a transposing instrument, written in Bb, so he reads one whole step above concert pitch.
In the chart, written in C# rather than Db, The I chord is C#7. The 6th degree of C#7 is A#, 7th is B. And think of the F# as just a chromatic approach to F, which is the 3rd. The whole thing is built around chord tones and he is pretty much free to connect them any way he wants.
Sorry if this is confusing. From now on I will double check for accuracy. ---------- For every moment of triumph, every instance of beauty, many souls must be trampled. HST
Last Edited by Blowhead9 on Jan 13, 2016 6:07 PM
well thats cool, i am at least reading the chart having the right key was...key... when i first tried to play along i could not find the key. i dont have an F# harp so that may have been part of my problem...i did find that opening phrase in second position on the harp but i couldnt match the key. and i was matching that B/Bb but relating to key of G....so hearing 3rd/flat 3rd to kick off, which was not helping with the rest i really appreciate the input here.
That thing he does in the first bar sliding from the 6th to the b7 lies really easy on tenor in that key, he just has to wiggle one finger. So on harp in second you would have to go from blow to draw, and you can't get that same effect, I don't think? Maybe just bending the 5 hole little will get close enough.
There's a great harp break in there, somewhere. Good luck!
---------- For every moment of triumph, every instance of beauty, many souls must be trampled. HST
Last Edited by Blowhead9 on Jan 13, 2016 7:12 PM
well, the track isnt reaaly lucille, but heres my first take on playing that solo on a harmonica...fwiw...thanks again Dr Hoy for that job you did, and Blowhead also. not much creativity in this (that is...none at all) but i might have to come up with another 12
Thanks! I guess you could say 5 flats...I wrote it out in scale degrees so I could transpose it. The recording is in G. Pretty fun playing that way on the harp but I expect my band mates won't approve.
