![]() ![]() That said, what might sound like inaccuracies may simply be the nature of the emotional deadness of the midi. ![]() Inflection and style go a long way in making notes sound like music. I ask you to keep in mind that the midi is a robotic, soulless recitation of the notes. From my own experience with the solo (and with Dannewitz’ version as a baseline), I believe my version below is a considerably more accurate transcription: As fantastic as the entirety of his transcription was, he apparently (and commendably) didn’t pay too much attention to the preciseness of the solo, instead focusing on the fidelity of the song as a whole. It is a heavily edited version of the transcription by a very talented man named Eric Dannewitz from Jazz-Sax who actually transcribed the entire song (my measure markings thus reflect those of his arrangement). In full disclosure, this transcription is not entirely my own. ![]() Only when we both agree the transcription is valid can we reasonably expect any worthwhile analysis to take place. This analysis does use some rudimentary scale/chord theory, so it may be a good idea to brush up with some Wikipedia articles!Ī meaningful analysis, though, can only exist with an accurate transcription, so I present to you, for your consideration and evaluation, my humble transcription of Masato Honda’s storied spiel along with a midi version of this arrangement with the original recording for comparison. Please keep in mind that this article may require a basic, working knowledge of some basic musical concepts. With this I hope you will deepen your appreciation for this hallmark performance and, hey, you may even learn something! Basically, I will attempt a measure for measure, chord for chord harmonic analysis of this solo. It was Mark Levine that wrote that a great jazz solo is “1% magic 99% stuff that is explainable, analyzable, categorizeable, doable.” Here, I’m going to try to give you a peek at this 99%. I’m talking, of course, about Masato Honda’s venerated alto saxophone solo in Cowboy Bebop’s “Tank!” Brutally bald-faced in its dense complexity and awe-inspiring in its effortless virtuosity, these 68 measures have become nigh-legendary in the tangential overlap of the jazz and anime communities. It has been called some of the most riveting 59 seconds of music ever recorded for Japanese animation the cornerstone representative of jazz in anime. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |