Notes from Michael

!
Lingus
written and arranged by Michael League
transcribed by Chris McQueen
recorded on We Like It Here, GroundUP Music / Ropeadope Records 2014
!
It was Snarky Puppys second trip to Europe, sometime in 2012- I cant remember when
exactly. I was feeling particularly ambitious on that flight from JFK to London Heathrow
(via Dublin) and brought my midi controller and laptop on the initial 6 or 7 hour trip. We
were flying on Irelands most prominent non-budget airline, the interestingly-named Aer
Lingus.
!
As a side note, I would love to have been in the board meeting where the shareholders
agreed upon that moniker seriously. Think about that discussion. [I have come to learn
since that Lingus is an anglicization of the Irish/Gaelic word Loingeas, meaning
fleet. Get your minds out of the gutter!]
!
As I was saying, it was 2012- YEAR OF (THE) DUBSTEP. About 2-3 times per week,
like clockwork, I would be apologizing to the house sound engineer in whatever club we
had just played about how many inputs/microphones/D.I. boxes we needed, and I would
get the response, Dude. Its fine. Most nights, I throw one D.I. up on stage and watch
some idiot dance around with his IPAD.
!
I knew very little about Dubstep at that time (and I probably know even less now), but I
knew that the only thing I really liked about it was the tempo. Theres something about
music at an extremely low BPM that makes you groove in a weird way. I once tried to
write a house-style tune for Snarky Puppy and Whitecap was the result, so I figured Id
give Snarky Dubby a shot.
!
The concept that governs the majority of the tune is combining double-time keys/guitar/
horn figures with half-time rhythms in the drums and percussion. Since I cant really do
anything right, I had a lot of trouble putting the tune in 4/4. The rhythmic figure in the
keys and the bass line were very strong in my head from the beginning, so I decided not
to fight it and just roll with 5/4. I chose to bring the melody in with the entrance of the
rhythm section something I dont think Ive ever done in a Snarky Puppy song. I think
it works well in adding to the surprise of the arrival.
!
The section I call the chorus (letter C) just happens to sound slightly Celtic (probably just
because its modal, major, and has ornaments), so I kind of lucked up in tying the tune to
its title.
!
Letter I is some really nerdy stuff. I wanted a percussion break there to create a bridge
between the open keys solo and the horn soli stuff in letter J, and Nate suggested playing
some kind of clave in a related meter. Metric modulation is fun, kids!
!
I actually did the mathematics for this (SUPER nerdy, I know), and this is what it looks
like (the hits we play are the red subdivisions). The cool thing is that, taken out of the
context of the songs tempo, its almost perfect clave in a faster BPM.
!
1e+a2e+a3e+a4e+a1e+a2e+a3e+a4e+a!
5 (song tempo sixteenths) = 1.5 (imposed beats)!
6.66 = 2!
3.33 = 1!
!
Confused? Dont worry. We still screw it up half of the time.
!
As for the horn soli and keyboard solo back-and-forth in letter J, that was an idea I had
after really analyzing the competitive nature of my Brooklyn-bred buddy, Cory Henry.
You havent seen real fire until youve seen this guy play basketball. Or Hearts. Or
XBOX. Or anything involving a winner and loser. So, I figured that after a gigantic open
solo, it would be nice to give him some extra fuel by having the horns play some really
blazing unison lines. The way in which he responds to it every night is pretty incredible.
!
The solo section at letter I is a really nice canvas for any harmonically adventurous
improvisor. Theyre given a tempo (a fast one at that), and a bass progression that goes
from E to C to A to F. No chords implied whatsoever. You can do whatever you want
and Cory Henry definitely does.
!
Not to blow smoke, but I want to go on record saying that the first minute of Corys solo
(the chordal stuff which wraps up just before 5:00 on the album) is some of the most
beautiful harmonic improvisation Ive ever heard. He has a real gift with that. I feel that if
someone transcribed it and orchestrated it for a symphony, it would be ridiculous. So
someone please do that, okay? Okay. Not me, though. It sounds hard.
!
Off-the-page stuff to try:
1) Play the whole tune with a non-Dubstep feel.
2) Play the whole tune with a REALLY Dubstep feel. Bass sound, drum sound,
everything!
3) Ornament the melodies differently. Ours are very specific, but there is a
limitless number of possibilities there.
4) I actually wrote LOADS more solis than were recorded on We Like It Here.
Write your own! As many as you want. And maybe write some that arent a
standard number of bars. End it with a hit in an interesting place, have the
drummer catch it, and youre off.
5) Use effects. Lots of them! This comes from an electronic place, after all.
C Melody LINGUS
q = 131 Michael League

4 [A] %
#5 j . . -
& # j
4 14
#
8
#- . j
&

#
#
#
14 -
#j . . - .
& #
j



17
# j
& #
#
21 [B]
#
&

23
#
&

25 To Coda
#
&

27[C] Gtr Melody 6 D.S. al Coda
#
&
2833
35
#
CODA &

37
#
&

39
#
&




Copyright 2014 Mikalimu, SESAC
2 C Melody
41
#
&







43 [D] Gtr Melody 3
#

&
4547

48
#Drum

Build
#
& # n n
mp cresc.
52[E]
# > . r . - .
. - . - . - .

. - .r .- .
& J J J j

55
# . - . . - . . - . r . - . . - . - . - .
j
& r j

J
58
# . - . r . - . . - . . - .
& j j r


[F] Solo 1
60
# E D/C D A7 F^7
& V V V V V V V V V V V V V V V V V V V V

64
#E D/C A74 G F^7


& V V V V V V V V V V V V V V V V V V V V

68[G]
# .j - . r . - . . - . - . - . . - .r .- .

J
& j

71
# . - . . - . . - . r . - . . - . - . - .
j
& r j

J
 C Melody 3
74
# . - . r . - . . - . . - . 4
& j j r
4
76 [H] Solo 2
# 4 . . . .

& e e e e r j r j
4 e e e e e e e e e e e e e e
sub p bass cues

80
. . . . . .
& e e
# r j r j r j
e e e e e e e e e e e e ne e e e e

84 [I] Drum Call

#^ ^ ^ ^ ^

& j r j r j

rhy cues

86[J] Soli 1
# . . . . . . .
&

89
# . .
r
.j . . ~~ ~
&
~~ ~~~ ~~~
~~~
Solo
[K] Continues
92 [L] Soli 2
7 .j
# ^ . r . r .
& R j j r
R J
~

9399

102
# .j r .j . . Solo Continues 4
& R R
104107

108 [M] Soli 3

# . # n # . # n b .
& R

111 3
Solo Continues
#
& R b w
113115
4 C Melody
116 [N] Soli 4
# .
& # # n n

# n #

Solo Continues [O] Soli 5

# 4
&
120123

126
# . Solo Continues 2 .
& w
129130

132 [P] Soli 6 . Solo Continues

# . . . .


&

137
#
&

140 [Q] . . . . . .
# j r j r j r r j j r j r
&
ff

143 . .
# j r r j . .
&
J R J R

145
. . . . . >
#
& J R J R J R R J
J R R J
Bb Melody LINGUS
q = 131 Michael League

[A] %
4
### 5 j . . - - .
& # j


4 #
14

9
### j j
& #

#
#

#
15
### . . - - . j
j

& #
#

20 [B]
###
&

23
###
&

26 [C] Gtr Melody
To Coda 6 D.S. al Coda
###

&
2833

35
###
CODA &

37
###
&



39
###
&

V.S.
Copyright 2014 Mikalimu, SESAC
2 Bb Melody
41
###
&


43 [D] Gtr Melody 3
###
&


4547
48 Drum Build
### # #
& n n
mp cresc.

52 [E]
### > . r . - . . - . - . - . . - .r .- .
& J J J j

55
### .j - . . - . .j - . r . - . . - . - . - .
& r J

58
### . - . r . - . .j - . . - .
& j r


[F] Solo 1
60
### F E/D E B7 G^7
& V V V V V V V V V V V V V V V V V V V V
64
### F E/D B74 A G^7

& V V V V V V V V V V V V V V V
V V V V V
68 [G]
## .j - . r . - . . - . - . - .
# . - .r .- .
&
j
J
71
### .j - . . - . .j - . r . - . . - . - . - .
& r J

 Bb Melody 3
74
### . - . r . - . .j - . . - . 4
& j r
4

76 [H] Solo 2
### 4 r .j . r .j .
&
4 e e e e e e e e e e e e e e e e e e
sub p bass cues

80
### . . . . . .
& r j r j r j
e e e e e e e e e e e e e e n e e e e e

84 [I] Drum Call

### ^ ^

^

^

^

& j r j r j

rhy cues

86 [J] Soli 1 . . .j
### . .. . . . . r
&

90 [K] Solo 7
### . . Continues ^
& ~
~ ~~~
~~ R
~~~ 9399

100 [L] Soli 2

### .j r . .j r . .j r .
& J R R J J R
Solo Continues
103 [M] Soli 3
4
### . . . . .
& R R # n # # n n
104107

110 3
Solo Continues
### n
& R
w
113115
4 Bb Melody
116 [N] Soli 4 .
###
& # # n n
# n #

[O] Soli 5
Solo Continues4
###
&
120123

126 .
### . Solo Continues 2
& w
129130

[P] Soli 6
132 . Solo Continues
### . . . .

&

137
###
&

140 [Q]
## . . . . . . . .
#
& J J J J J J J J
R R R R R R R R
ff

144
# . .
. . . .
. >
##
& J R J R J R R J J R J R J R R J
Guitar LINGUS
q = 131 Michael League

4 [A] % - - .
#5 . .
# J #
J
&
4 14 on D.S. opt dbl melody or bassline
9
#
# J # # J #
&

15 - - .
# . .

J
# J #
&

20 [B] gtr 2 play chords on D.S.

# C^7

&

23
#E D%
&

25 To Coda
#C^7

&

[C] Gtr Melody r

27 - . . - .
.

- . - . - r
# .
. . - .
. - .
J
& J J
r
30 . . - .
. - . - . -
# . - . r . - . -
. J .
& J J

33 r D.S. al Coda
-
# . - . . - . .
J - .
. r .
& J
V.S.
Copyright 2014 Mikalimu, SESAC
2 Guitar
35
# E
CODA &

37
C^7
# D% D7
&

39
# E


&

41
# D% C^7
&

[D] Gtr Melody r

43
# . - . . - .
. - . - . - .
J
& J

Drum Build r
46 r . . - .
# . - . . - . . - . r . - .
. -

J
& J J

49 . -
. - . - . r
#
J
.
- .
. - . . - . r . - .
& J J
r - . -
52 [E] . - . .
-
# .
.

J . - . . - . r
. - .
& J
J
r - . -
55 . . - .
.
-
# . . r . - . -
.
J . - .
& J J

58 r -
# . - . . - . J. . r . - .
& J
 Guitar 3
[F] Solo 1
60
# E D/C

j D

j A7 F^7

& V V J V V V V V V n
J
64
#E D/C
j A74 j G F^7

& V V # J V V V V
# V V nn
J
[G] r
68 . . - . -
. . - . - . r
# . -
. - . . - .

& J J
J
r
71 . - . -
# . - . r . - . . - J. . - . - .
.
& J J

74 r -
&
# . - . . - . J. . r . - . 4
J 4
76 [H] Solo 2
# 4 . . . .
& e e e e r j r j
4 e e e e e e e e e e e e e e
sub p bass cues

80
# . . . . . .
& e e e e e e er ej e r j r j
e e e e e ne e e e e
Drum Call [J] Soli 1
84 [I]
# ^ ^ ^ ^ ^ . .
r j r j
& j r j

88
# . . . .
& r j r j n r

V.S.
4 Guitar
[K] Solo
92 Continues E7
# ^r . . . .
r j r j

& V V

96
# . . . .

& r j r j n r

100 [L] Soli 2
# . . . .
& r j r j

104
# Solo Continues . . . .
& r j r j n r

108 [M] Soli 3
# . .
r j r
b b
&

112
#Solo Continues . . . .

& r j r j n r

116 [N] Soli 4
# . . . .
& r j r j

120 Solo Continues
# . . . .

& r j r j n r

124 [O] Soli 5
# . . . .
& r j r j

128
#Solo Continues . . . .
& r j r j n r

 Guitar 5
132 [P] Soli 6
# . . . .
& r j r j



136 Solo Continues
# . . . .
& r j r j n r

140 [Q]
# . . . .
& r j r j

ff
144
# . . . . >
& r j r j n r

Keyboard LINGUS
Michael League
q = 131

# 5 E7
. . . . . . . . 4

{ & 4

pp

%
5 [A]
# .E7 . . . . . . . 4
&

? # mf
{ e e e e e e e e e e e e e e e e e
9
# 8 12
&
4 4
?#
{
17 [B] C^7
# 16 . . . . . . . .
&

4
?# j
{ j j

22
# . E
. . . .
. . .
&

{ ?# j j j j j j

Copyright 2014 Mikalimu, SESAC V.S.
2 Keyboard
24 To Coda
# D%. . . . . . . . C^7. . . . . . . .
&

?# j j j j j j j j
{
[C] Gtr Melody
27
#E D/C D A7 E E
&
#
? #
{ 32

# D/C D/C A4 A74 G F D.S. al Coda

&
n # n
? #
{ 35
n

# E
. . . . . . . .
&


CODA
?# j j j j j j

37
{
D7 C^7
# D%. . . . . . .

. . . . . . .
&
V
> >
?# j j j j j j j
{ 40
J b
n
#E. . . . . . . . D%
. . . . . . . .
&


?# j j j j j
{


 Keyboard 3
42
#C^7. . . . . . . .
&


?# j j j j j j
{
[D] Gtr Melody

Drum Build
44
#E D/C D A7 F^7 E E
&

#
? #
{
49
n

# D/C D/C A4 A74 G F

&
n # n
? #
{
52 [E]
n

# E D/C D F^7
& j j j j


?# J j j
{
56
J n

# E D/C A4 F^7
& j j j j
# n
#
?# J j j j
{
60
[F] Solo 1
n

# E j D/C D A7 F^7
& V V V V j V V j V V j

? # j
V V J
{ V V V V J V V nj
V.S.
4 Keyboard
64
#E j D/C A74 G F^7

& V V V V j V V # j V V n j
#
?# j j
{ V V J V V V V V V nj
[G]
68
E D/C D A9 F^7
?#
{ V V V V V V V V V V V V V V V V V VJ V V

72
E E D/C D/C A74 G F^7
?#
V V VJ V V V V VJ V V V V V V V V V VJ V V
4
{ 4
76 [H] Solo 2
? # 4 . . . .
{ 4
r j



r j

sub p
80
. . . . . .
?# r j r j r j
{ n
Drum Call [J] Soli 1
84 [I]
? # ^j ^r ^j ^r ^j . .
r j
{
88
?# . . . .
{ r j r j r
n

Solo
92 [K] Continues E7
?# ^ . . . .
r
r j r j
{ V V
96
?# . . . .
{ r j r j r
n
 Keyboard 5
100 [L] Soli 2

?# . . . .
r j r j
{
104 Solo Continues
?# . . . .
r j r j r
{ n

108 [M] Soli 3

?# . .
{ r j r
b b
Solo Continues
112
C9 . . . .
?# r j r j r
{ n

116 [N] Soli 4 A7 . B7/A
?# . E/G . .
r j r j
{

120 Solo Continues
?# . . . .
r j r j r
{ n
124 [O] Soli 5
# opt
&
e e e# e e e e e e e e e e e
?# . .
{ r j

127
Solo Continues
#
& e# e E

?# . . . . . .
{ r j r j r j
V.S.
6 Keyboard
131 [P] Soli 6
A E . . A A
?# r r j
{ n
135 Solo Continues
E . . . . . .
?# r j
r j
r j
{

139 [Q]
?# . .
{ n r
r j



ff
143
?# . . . .
{ r j r j

146
?# . . >
{ r j r
n

Bass LINGUS
Michael League
q = 131
4 [A] %
? #5
4
14

9 4 4
?#

17 4 [B] C^7
?# J J J J j J

23 E D% C^7 To Coda
? # J J J J J
J J j

J J J
[C] Gtr Melody
27 6 D.S. al Coda
?#
2833

35 D7 C^7
E D% >
? # j J J J J J b > n J

J J J J
39
E D%
? # j J J J J J
J J
42
C^7
?# J J j
J J J
[D] Gtr Melody
44 3
?#
4547
Copyright 2014 Mikalimu, SESAC
2 Bass
Drum Build
48 E E D/C D/C A4 A74 G F
?# n

mp cresc.
52 [E]

?# j

56

?#

59 [F] Solo 1 D/C
?# j E
n V V V V V V
62
D A7 F^7 E
?#
V V V
V V V V V V
65
D/C A74 G F^7
?#
n


V V V V V V JV V
[G]
68
E D/C D A9 F^7
?#
V V V V V V V V V V V V V V V V V VJ V V
72
E E D/C D/C A74 G F^7
?#
V V VJ V V V V VJ V V V V V V V V V VJ V V
4
4
76 [H] Solo 2
? # 4 . . . .

4 R J R J
sub p
80 . .
? # r j r .j . . .
n r j
 Bass 3
Drum Call
84 [I] [J] Soli 1
? # ^j ^r ^j ^ ^ . .
r j
R J
88 .j .
r
? # r .j . n
R
Solo
92 [K] Continues E7
?# ^ . . . .

V V R
R J R J
96 . .
? # r j r .j . n
R
100 [L] Soli 2
?# . . . .

R J R J
104 Solo Continues . .
? # r j r .j . n
R

108 [M] Soli 3

?# . .
b b
R J R
112 Solo Continues . .
? # r j r .j . n
R

116 [N] Soli 4

?# . . . .

R J R J
120 Solo Continues . .
? # r j r .j . n
R
V.S.
4 Bass
124 [O] Soli 5
?# . . . .

R J R J
128 Solo Continues . .
? # r j r .j . n
R
132 [P] Soli 6
?# . . . .

R J R J
136 Solo Continues . .
? # r j r .j . n
R
140 [Q]
?# . . . .

R J R J
ff
144 . .
? # r j r .j . n >
R