Notes

 from  Michael  
 
“Binky”  
written  and  arranged  by  Michael  League  
transcribed  by  Chris  McQueen  
recorded  on  groundUP,  GroundUP  Music  /  Ropeadope  Records  2012  
 
“Binky”  was  actually  the  first  of  the  batch  of  new  songs  set  to  be  recorded  on  
groundUP.  I  think  it  came  from  the  Afro-­‐beat  craze  that  had  been  dominating  my  
current  hometown  of  Brooklyn,  New  York  (the  working  title  was  “Afropup”).  
Everyone  that  was  cool  had  an  Afro-­‐beat  band.  I  was  not  cool.  I  figured  that  the  least  
I  could  do  was  write  an  Afro-­‐beat  song,  and  “Binky”  was  my  attempt  at  it.  As  is  
normally  the  case  with  compositional  intentions,  I  got  distracted  and  the  song  
drifted  out  of  the  desired  direction  into  some  strange  other  realm.  
 
We  rehearsed  it  for  the  first  time  at  Nate’s  tiny  apartment  in  Denton,  Texas,  during  a  
tour  in  May  of  2011.  It  was  MUCH  faster,  and  listening  back  to  it  now,  feels  a  little  
more  Afro-­‐beatish  that  way.  
 
One  of  the  most  interesting  things  about  the  recording  of  this  song  on  “groundUP”  is  
Nate,  Marcelo,  and  Keita’s  very  intricate  and  well-­‐thought-­‐out  percussion  parts.  
They  interact  with  the  bass  line  in  an  integral  way…  sliding  them  over  even  by  an  
eighth  or  quarter  note  affects  the  groove  massively.  If  you  know  Nate,  you  know  
how  much  he  thinks  about  this  stuff.  
 
Similar  to  the  structure  of  the  song  “Flood”  on  Tell  Your  Friends,  the  hip-­‐hop-­‐ish  
outro  to  “Binky”  is  a  metric  permutation  of  previously  stated  musical  material.  I  
know  that  sounds  really  nerdy,  but  I  can’t  think  of  any  other  way  to  say  it.  Basically,  
the  chords  are  the  almost  the  same  as  the  previous  section  (letters  R  &  S).  The  
section  is  still  technically  in  3/4,  despite  the  fact  that  the  band  is  playing  with  a  4/4  
feel.  To  get  REALLY  nerdy,  do  this.  Take  the  dotted  quarter  note  of  the  original  feel  
(in  3/4)  and  isolate  it.  This  becomes  the  new  quarter  note  of  your  4/4  feel.  In  fact,  
everyone  can  play  the  written  parts  identically  and  if  only  the  drums/percussion  
switch  between  3/4  and  4/4  grooves,  everything  still  locks  in.  Try  it.  It’s  pretty  
crazy.  
 
But  just  like  “Flood,”  no  one  should  know  (or  care)  that  the  outro  uses  previously  
stated  harmonic  material  in  a  metrically  related-­‐but-­‐permutated  manner.  They  
should  just  want  to  shake  their  butts.  So  if  you  play  everything  absolutely  correctly  
and  nobody  in  the  audience  is  moving,  the  band  is  missing  the  point.  
 
As  for  the  title,  we  used  “Afropup”  for  a  while  (I  couldn’t  think  of  anything  that  made  
sense).  Normally,  song  titles  reveal  themselves  to  me  in  a  natural  way  that  relates  
deeply  to  the  emotion  or  imagery  that  I’m  trying  to  convey  musically.  In  this  case,  I  
went  months  of  playing  it  with  no  luck.  I  got  desperate  one  night  in  Birmingham  
(Alabama,  not  UK)  and  asked  people  to  scribble  out  song  titles  on  napkins  at  the  
conclusion  of  the  tune.  There  were  some  pretty  funny  suggestions,  and  there  was  
“Binky.”  It  just  sounded  right.  Sometimes  you  have  to  go  with  your  gut.  
 
Off-­‐the-­‐page  stuff  to  try:  
1) Play  the  whole  thing  at  a  much  faster  tempo.  
2) Change  the  feel  of  the  first  A  section  to  anything  you  want.  The  melody  is  
very  versatile  and  sits  well  on  top  of  loads  of  different  grooves.  
3) Change  the  harmony  for  the  ramp-­‐up  (letters  R  and  S),  or  keep  it  static  
(stay  on  C#m)  and  then  revert  to  the  original  chords  after  building  
tension  for  a  while.  
4) Try  a  slow,  half-­‐timish  groove  over  section  S  before  building  up  
5) Abandon  the  bass  line  on  the  sax  solo  and  just  groove  in  C#.  It  can  get  
really  open  here.  
6) On  the  groove  section  at  the  end  of  the  tune  (letter  U),  experiment  with  
pulling  each  part  in  and  out,  hip-­‐hop-­‐production-­‐style.  It  works  nicely.  
7) On  that  same  section,  try  having  the  drums  play  a  more  3/4-­‐based  
groove.  
C Melody
Binky Michael League

                 A 
 

 shakers     
                
congas

11
B     
            
   
17
 C    
   
 
     

24
     D  E


         

       F
36

     
          

44
           

                     

51
  
 G          
 
            
         

55

            
 
            
         

H   
59

         
                
   
legato V.S.
Copyright © 2012
2 C Melody

           I  


62

          


 
    
66 J

  
   

Open for solos

  K     

76 Play melody 1st & last x

  
            
 
83
 L       
                 

 


                       
4x
M Esus9 Fmaj9 Esus9 Dm9
 
90

      

     
96 N Bsus7 C6 Bsus7 Bbmaj7(#11)

             

     
4x
Fmaj9 Esus9

            
98 O Esus9
   
Dm9


 

   P  
Bsus7 C6 Bsus7 Bbmaj7(#11)

  
102

           

Q
 
104

         
      
  
legato
 C Melody 3

                   

106

        


  R 1st x only   


108

  
   
4x - build throughout

  S           

melody on synth only 1st x

112
                
 
   

         
115 
      

   
   
       

    
118
     
           

 


Slower
  
120 T rit. Swung 16ths Drums

 
    
 

Melody 2nd/4th x

  U  with

126 Repeat and fade
           
 
 
sass
      

on repeat

  
130
 

  
                 
 
B-flat Melody
Binky
               A
Michael League

      

 
                   
shakers
 
congas

  
  
11 B
   
        
     

19

C
        
                

  
  
26 D E

          


    
40 F

            

    

46
        

     
              

 G           
51

                 
 




            
55

      
      
      



 
H
                
59
   
  

       
legato V.S.
Copyright © 2012
2 B-flat Melody



        

62 I
   
  

  
64
   

            



Open for solos
 K Play melody 1st & last x
   

68 J

              


   
80 L

          
  

       
  
 
86
     
                 
 

    
4x

             
92 M F#sus9 Gmaj9 F#sus9 Em9

      

     
96 N C#sus7 D6 C#sus7 Cmaj7(#11)

              

      
4x
Gmaj9 F#sus9 Em9

                
98 O F#sus9
    

   P  
C#sus7 D6 C#sus7 Cmaj7(#11)

  
102

           

    
104 Q
       
   

   

legato
 B-flat Melody 3

                   
106

   


    
       
R

108
  
1st x only
   
4x - build throughout
 x
   
melody on synth only 1st

           
     
S
112
   


 
           



  
      
        
115 

            
  
 

  
118


 
            

     
 


120

T  
Slower

Swung 16ths Drums
  
rit.

 
    


Melody 2nd/4th x

 
U Repeat and fade

      
126
                   
with sass
   

on repeat

 
130
    
                     
Guitar
Binky Michael League

                 
 

    
A
 shakers
                
congas

11

B  C 


            
27 D
      
mf  

 E
33

                  
 
        

 F
39

              
      
       


45

           
     

 G       

51 Esus9 Fmaj9 Esus9 Dm9
   
            
    
 
  

      
55 Esus9 Fmaj9 Esus9 Dm9
            
 
 
      
         

59
  
H Bsus7 
  
C6
       

Bsus7  Bbmaj7(#11) 
Bsus7  C6
       
                 

Copyright © 2012
2 Guitar

    Bbmaj7(#11)
 
Bsus7
 I C#m9 arp chord with open E pull-offs, let ring
62

  

 
   
 

      
C#m
  
66 J
  
   
      
 

72

         
     
  K     
Open for solos


76 Play melody 1st & last x
        
 


82 L
                  
   
     
   

86

   
       
 
     
 
4x

     
M 
Esus9  Fmaj9 
Esus9  Dm9

92
          
      
         

    

N Bsus7     
  
96 C6 Bsus7 Bbmaj7(#11)

         


 
     


   O            
4x
     

Esus9 Fmaj9 Esus9 Dm9

    
98
 
    
        

   
    
102 P Bsus7 C6 Bsus7 Bbmaj7(#11)

    
       
  
 Guitar 3
104 Q Bsus7 C6 Bsus7 Bbmaj7(#11) Bsus7 C6

                     

  R arp chord with open E pull-offs, let ring

107 Bsus7 Bbmaj7(#11) C#m9

     

       
  

  
109

                   


4x - build throughout
 
S C#m9 melody on synth only 1st x
            
112


sim.


115

                        

  C#m9
                        
119 T
arp chord with open E pull-offs, let ring



Slower
F#m11
  
 
123

     
 Swung 16ths Drums

 
rit.
   
 


mp


Melody 2nd/4th x
  
U C#m Repeat and fade F#m C#m F#m


126

             
hi voicing, reverb

 
C#m F#m C#m F#m D

130

                 
Bass
Binky Michael League

               A
            
shakers
 
              mp      
congas

 
5

 
    
     

 
11 B
 
        
 
  
 

    
18 C
 
             
    
25 D

  
 
                 
 
mf
31 E

  
 
     
 
           
 
37

 
  
 
     
  
43 F
 
        
 
  
 

    
G Esus9 
   Esus9 Fmaj9
          
50
         
        
Fmaj9   
 Esus9
                       
Dm9 Esus9 Dm9

54

       
Copyright © 2012
2 Bass
59 H Bsus7 C6 Bsus7 Bbmaj7(#11) Bsus7 C6
            
       
  
     


62 Bsus7 Bbmaj7(#11) I 

         
  
mp legato

65
        
       


68  J
 
         
 

   


Open for solos


74 K

        
     
Play melody 1st & last x
    
    
80 L

  
 
                 
 

  

86

 
  
          
 

  Esus9
 
  
4x
                    
Fmaj9
Dm9
M Esus9

92

       


        
96 N Bsus7 C6 Bsus7 Bbmaj7(#11)

       
         
  Esus9
              

4x
        
98 O Esus9
  Fmaj9 Dm9

       
 Bass 3

     
102 P Bsus7 Bsus7

            
C6 Bbmaj7(#11)

   
104 Q Bsus7 C6 Bsus7 Bbmaj7(#11) Bsus7 C6
                     


 R           
  
107 Bsus7 Bbmaj7(#11)
         
  
mp legato

 
     
                   
109


4x - build throughout

                          
112 S melody on synth only 1st x
C#m9 E
F#m C#m9 E A A F#m

                          
116 C#m9 E A F#m C#m9 E A F#m


alt changes last time: A E D
120 T
                                    
mp

rit. Slower

              
123 Swung 16ths Drums

  
  


  
Melody 2nd/4th x
126 U Repeat and fade

 
   
   
 
 

 
key bass - heavy
130
 

  


 
  
 

Piano
Binky Michael League

                 A
     
 shakers
         

              
Bass Gtr

   
  
        
congas mp

 
5

     
       


      
11 B
     
   
     

           
18 C
 

    


25 D   
       
     
    
     
   
mf
31


  
     

     
35 E
 
        
   

  
     
42 F
 
          

 
      
 Copyright © 2012

2 Piano
Esus9 Fmaj9 Esus9
 G
49
                
        
    
                      

       
    


     
54 Dm9 Esus9 Fmaj9 Esus9 Dm9

  
              
 
   


        
     
 

                       

        


59 H Bsus7 C6 Bsus7 Bbmaj7(#11) Bsus7 C6

        
  
    
   
   


 
           
              
                


Bsus7 Bbmaj7(#11) E A F#m
 I C#m9
62
 
                    
    
            
bass
         



mp legato


C#m9 E A F#m C#m

65

             


            
            





 J    
C#m C#m7
        
68

      
             

  
 
             

        
  
   



Piano 3
C#m6
72
     C#º7   F#7  C#m6/E 
       
                       
                   

   
  
 


Open for solos      
  K
C#m
    C#m7    

76 Play melody 1st & last x

                        
               
  


     
   


 
C#m6
80
  
    C#º7   F#7  C#m6/E 
     
       
 
      
          
   
          

     
   


     
L        
84 C#m C#m7
     
                        
               

        

   


 
C#m6
         C#º7    F#7 C#m6/E     
 
88

       

 
 
 
 
 
 
 
 
 

                   
 
 
 
 
 



    
    
 


     
  M Esus9 
4x


Fmaj9 Esus9
 
92 Dm9

 
                 
 
     
  
    
           
             
     
    V.S.

4 Piano

   N      
Bsus7 C6 Bsus7 Bbmaj7(#11)

  
96
     
       
        
                   
     


            
4x Fmaj9 Esus9 Dm9

  
98 O Esus9

      
  
      
    

                
 
      
   
   

   P  
Bsus7 Bsus7 Q Bsus7 C6

                         
102 C6 Bbmaj7(#11)


Bsus7 Bbmaj7(#11) Bsus7 C6 Bsus7 Bbmaj7(#11)


105

                      


  R C#m9
E A F#m C#m9 E
     
108

            

             
 
bass


mp legato
4x - build throughout

  S        
 x
A F#m
 
melody on synth only 1st

     
111

     
 
  
   
 
 
C#m9 E A F#m

                          


Piano 5
114
           
 
            
     
 
C#m9 E A F#m
  C#m9 E
       

           
alt changes last time: A


   
              
117

               


       
A F#m C#m9 E A F#m

           

E D


T 
120
rit.
     
 

     

C#m9 F#m11

 



 
Slower Melody 2nd/4th x
     
125 Swung 16ths Drums U C#m Repeat and fade F#m11
  
C#m


    
thick synth


    
key bass - heavy
 


   
   



  F#m9     
129 D

C#m
 
F#m11
 
C#m
 
F#m9
   

        
            

 Binky Michael League
shakers % % % A
C Melody
& '% '% & & '% !$
#
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congas
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11 B
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C Mel
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2
19 C
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+

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43 F
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4
51 G
2 2/ % 22 2 2/ %
C Mel
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# " & +% ++++ " + 5 5 " ++ &+ 1 # " & 2% +++
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Bb Mel
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Esus9 % Fmaj9 Esus9
% % Dm9 Esus9
% % Fmaj9 Esus9
% % Dm9

Gtr
$ " +%
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Pno.
1 ##
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/
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" " -+ " + "" % & 5 5& % "! 5 / /+ -+
-+ " + "4
+ + + + 1+ + + + + 1 +
59

C Mel
+ + ++ ++ + + 6#
+ 1 + + + ++ ++ + +2 + ++2 + $$$$
&
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+ + +-+
,
legato + + 0
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,
Bsus7 legato Bsus7
% %Bbmaj7(#11) Bsus7
% Bsus7 %Bbmaj7(#11)
%
Gtr
$ 4 +%
& 5 & +% C6+ 1
& + & 5 & + & +% 1 + & 5 & +% C6+ 1
& +% & 5 + $$$$
# "+ + +
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+ +, 1 + 1 ++ & ++ & -+++ 111
Bsus7 C6 Bsus7 Bbmaj7(#11) Bsus7 C6 Bsus7 Bbmaj7(#11)
% %
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%
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Bsus7 C6 Bsus7 Bbmaj7(#11) Bsus7 C6 Bsus7 Bbmaj7(#11)
$ 4 % %& 5 & %& % %& 5 & %& % %& 5 & %& % $$$$
# " +% & 5 & +% & + 1 + + + 1 + + + 1 + + + 1
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& " + + + 1 + & 5 & + & )+ 1 +&5 &+& + 1 + & 5 & + & )+ 1
$$$$
 5
63 I
%
C Mel
$ $$ #
3 5 &+ 1 % !
# $ 6 6# 1# ++1 1# + + +# + 6# "

Bb Mel
) ) 6# 3 5 &+ 1 1# ++1 % !
# ) ) )) 6 # , 1# + + +# + 6# "
C#m

Gtr
$$$$ C#m9 arp chord with open E pull-offs, let ring !
# ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) *# "
++++++++++++ +++++++ ++++++++++++ +++++++
Bass
*$$$$ + ++++ + + + + + 6# !
"
mp legato
E A F#m C#m9 E A F#m C#m
C#m9
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bass
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Pno.
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*$$ $ ' ' ' ' ' ' ' ' ' ' ' '
mp legato
'''''''' '''' ''''''' ''''''''''''
+#
68
&
C Mel
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# " %& 5 5 ( ( ( ( ( ( (
+
Bb Mel
)) ! ( ( ( ( ( ( (
# ) ) )) " +% & 5 5

Gtr
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0
Bass &
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& +% +% & ( ( -+ +
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C#m C#m7 C#m6 C#º7 F#7 C#m6/E
$$$$ ! 0 % 0% 0 % 0% 0 % 0% 0 % 0% 0 % 0% 0 % 0% 0 % 0% 0 % 0%
# " ) + & + & + + +& + & + + + & + & + + + & + & + + + & + & + + + & + & + + + & + & + + +& + & +
Pno.
+ + + + + + + ++ ++ ++ ++ ++ ++ ++ ++ + + + + + + + + + + + + + + + +
0+ + + + + + + + + + + + + + + $ ++ ++ ++ ++ $ ++ ++ ++ ++ -$ ++ ++ ++ ++ $ ++ ++ ++ ++
*$$$$ ! +& % + &
" & %+% & ( ( & % +% & & /
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&
6 Open for solos
76 K Play melody 1st & last x
. . . . 0/
C Mel ( + + ( ( &
$$$$ ! #
# "# $+ + + ++ +
+ +
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+ % 1# 1#
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Bb Mel ) )))! # ( + -+ + + ( + ++ + (
# )) "#
+ - + + + & % 1#
-+ 1#

Gtr
$ $$ ! + & /
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+
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+ + -+ + + -+ + +
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*$$$$ ! ## + +&+ +&
" ,, ++ ( ( -+ + + + -+ + +
C#m C#m7 C#m6 C#º7 F#7 C#m6/E
0 0 0 0 0 0 0 0
#
$$$$ ! # 0& % & 0% 0& % & 0% 0 & % &0% 0 & % & 0%
# & % & % & % & % & % & % & % & %
Pno.
++ ++ ++ ++ ++ ++ ++ ++ +++ +++ +++ +++ +++ +++ +++ +++ ++ ++ ++ ++ ++ ++ ++ ++ ++ ++ ++ ++ ++ ++ ++ ++
+ + + + + + + + + + + + + + + + $ ++ ++ ++ ++ $ ++ ++ ++ ++ -$ ++ ++ ++ ++ $ ++ ++ ++ ++
*$$$$ ## +& % +& & %+%& ( ( & % +%& & /
" + , + -+ +
+
84
+ + -+ +
L . . / 0 / 2 2 2
+ -+ + +
C Mel
$ $$
&
# $ ( +$++ + 3 &+, + $++ /%& 3 &% + -+ ## $ $ ""
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)
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1# %
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*$$ $ ++&+ +& %
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,, ++ ( ( -+ + ++ -+ + + %
C#m C#m7 C#m6 F#7 C#m6/E
$$$$ 0 % 0% 0 % 0% 0 % 0% 0 % 0% 0 % 0%
& & & & & & & & & & & & & & & &
0 % 0% C#º7 0 % 0% 0 % 0% # $ $ "
# ++ ++ ++ ++ ++ ++ ++ ++ # "
Pno.
++ ++ ++ ++ ++ ++ ++ ++ ++++++ +++ +++ ++++++ +++ +++ ++ ++ ++ ++ ++ ++ ++ ++
$ + + +
++ + + + + + + + + + + + + + + + + + + + + + + - + + + + ++ + + + $ + + + + $ + + + + $ + + + +
$
*$$ $ +& %+& & %& & %&
, + %+ ( ( -+ %+ +
& / ## % $ ""
+ + + + -+ + + -+++
&
 7
M 4x N
92 Fmaj9 Esus9 Dm9 Bsus7 C6 Bsus7 Bbmaj7(#11)

C Mel
$ ! #" Esus9 ! " ## $! $"
# " #" ) ) ) ) " ) ) ) " ) ))) ) ))) "%
##"4 ) ) ) ) ) ) ) )) ) ) ) ## % "
F#sus9 Gmaj9 F#sus9 Em9 C#sus7 D6 C#sus7 Cmaj7(#11)
Bb Mel
$$$ ! #" ! " ## !$
##"4 ## $ ""
# " #" ) ) ) ) " ) ) ) " ) ))) ) ))) ) )) )
"% ) ) ) )) ) )) %
Esus9 % Fmaj9 Esus9
% % Dm9 Bsus7
% C6 Bsus7
% Bbmaj7(#11)

Gtr
$ ! #" +%
& 5 5 & + ! 1 " + & 5 5 & +
+ 5 1
1 # # 4 +
+ & 5 & +
+
% + 1
& + 1 +
+ & 5 & +
+
% +% 1
& + 1
# " #" ++ ++ " 5 11 " ++ + -1 # # # "
## !$
+ "% + , + 1 + + -+ 1
## $ ""
%
Esus9 +
Fmaj9 / - / Esus9 Dm9 Bsus7 C6 Bsus7 Bbmaj7(#11)
/ + %
Bass 5 -+ " + & 5 5 & + 5 1# $
! % % % & 5 & % & %
+ + ) + 1
*$ ! ##" + & 5 5 & + ! ## ##"4 + & 5 & + & + 1 ## $ ""
" ", , " " , , "% %
Esus9 Fmaj9 Esus9 Dm9 Bsus7 C6 Bsus7 Bbmaj7(#11)
5 " %& 5 5 & % 5 %& 5 & %& %
$ ! #" %
# #" + & 5 5 & +% "! 1 " + + 1#
## !$ ##"4 % & 5 & % & %
+ + + 1 + + + 1
## $ ""
Pno. 11
++ ++ ++ ++ - 11 ## / ++ ++ ++ 11 ++ ++ - ++ 11
/ % %& 5 & %& % "
*$ ##" % & 5 5 & % ! 5 / /+ -+ " %& 5 5 & % 5
" + ## ##"4 +% & 5 & +% & + 1 +
" "+ + " -+ + + 1 + %
" + ) + 1 ## % "
98 O 4x Fmaj9 Esus9 C6 Bsus7 Bbmaj7(#11)
Esus9 Dm9 P Bsus7
C Mel
$ ! " ! " $
! 4 $
&
# " ##" ) ) ) ) " ) ) ) " ) ) ) ) ) ) ) ) ## "% ##" ) ) ) ) ) ) ) ) ) ) ) ) ## %
F#sus9 Gmaj9 F#sus9 Em9 C#sus7 D6 C#sus7 Cmaj7(#11)
Bb Mel
$$$ ! #" ! " ## $! ##"4 ## $
# " #" ) ) ) ) " ) ) ) " ) ) ) ) ) ) ) ) "% ) ) ) ) ) ) ) ) ) ) ) ) %
Esus9 Fmaj9 Esus9
% % Dm9 Bsus7 C6 Bsus7 Bbmaj7(#11)

Gtr
$ ! #" +%
& 5 5 & +% ! 1 + +
" +& 5 5 & + 5 1 #
++ " 5 11 " + + 1
-1 ##
## !$ ##"4 ) ) ) & ) ) ) ) ) ) & ) ) ) ## $
# " #" ++ "% , , %
Esus9 /Fmaj9
- /+ Esus9 Dm9 Bsus7 C6 Bsus7 Bbmaj7(#11)
/ +
Bass
! ! -+ " + & 5 5 & + 5 1#
" 5
*$ ##" + & 5 5 & + ## !$ ##"4 ) ) ) & ) ) ) ) ) ) & ) ) ) ## $
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$ ! #" % & 5 5 & % ! " %& 5 5 & % 5 4
# #" + + " 5 1 " + + 1#
## !$ ##" ) ) ) & ) ) ) ) ) ) & ) ) ) ## $
, ,
Pno.
++ ++ 11 ++ ++ - 11 ## /
! / + -/+ " % & 5 5 & % 5 ( (
"
*$ ##" % & 5 5 & % + ## ##"4 ##
" "+ " 5 -+ / "% %
& + + + 1 +
8
104 Q
$ + +
C Mel
++ + + 6# ++ + +2 + ++2 + $$$$
# 3 & ++ ++ + ++ 1 + + + + + + 1+ + + ++ ++ ++ + ++ + + ++))0++ & 0+ + + +
+ + +-+
, , , , ,
legato
++ +
Bb Mel
$$$ ++ + + 6 # ++ + +2 + ++2 + ++--0++ 0+ + + +
# 3 & ++ + + ++ 1 + + + + + + 1+ + + ++ ++ ++ + ++ + + & + + +-+ ))))))
, , , , ,
Bsus7 legato C6 Bsus7 Bbmaj7(#11) Bsus7 C6 Bsus7 Bbmaj7(#11)
$
Gtr
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# ) ) ) & ), ) ) ) ) ) & ), ) ) ) ) ) & ), ) ) ) ) & ), & ), ) )
Bsus7 C6 Bsus7 Bbmaj7(#11) Bsus7 C6 Bsus7 Bbmaj7(#11)

Bass
*$ $$$$
) ) ) & ), ) ) ) ) ) & ), ) ) ) ) ) & ), ) ) ) ) & ), & ), ) )
Bsus7 C6 Bsus7 Bbmaj7(#11) Bsus7 C6 Bsus7 Bbmaj7(#11)
$
Pno.
$$$$
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108 R
C Mel ( (
$ $$ ! 1st# x only ## $
6# 6
# $ " ## 6 6 ##
%

Bb Mel ) ( (
) ) ) ! # 61st# x only
6
6 ## ## $
# ) ) " # 6# %

Gtr
$$$$ ! #C#m9 arp chord with open E pull-offs, let ring
# "#) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) )
## $
%
++++++++++++ +++++++ ++++++++++++ +++++++
Bass
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legato
" mp %
E A F#m C#m9 E A F#m
$
$$ $ ! # C#m9
# #) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ## $
Pno. bass
*$$$$ ## ' ' ' ' ' ' ' ' ' ' ' '
"
mp legato
& ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ## %
 4x - build throughout 9
112 S melody on synth only 1st
+2 x 7 7 +2
2 +, +2 +, 2
C Mel
$ $$ ! ++ + + ++ +2 & + 5 & % 5 & % /
& +5 & , + & %& 5 & + 5 & +, +
# $ " ## 5 & +, 5 & , , , + + + + +,7+ % ,
+2 7 7 + 1 +2
2 +, 2
2+
++ +, + + + + / ++
Bb Mel
)) ! + + +2 +
+
&,5 & , & , 5 & + 5 & +% + + + & ,7+%& % 5 & +, 5 & ,
# ) ) )) " ## 5 & , 5 & , ,
C#m9
+ 1
Gtr
$$$$ ! #
# )) )) )) )) )) )) )) ) ) )) )) )) ))
sim.
" # ))))))))))))
C#m9 E A F#m C#m9 E A F#m C#m9 E

Bass
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alt changes last time: A
"
2 72 2
$$$$ ! + 2 +
+ +,+ +,7+ + + + 2
+ % / + 2 +
+
# ## 5 & + 5 &
, & +5 & , & +5 & + 5 & % & %& 5 & +5 & ,
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alt changes last time: A
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117 T
$ $ ,
+
7+2 7
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A F#m C#m9 E A F#m

Bass
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