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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

  shakers              congas B 

11

 

17

          A               

     

 

Binky

C



     



             

24

      

36





   



D

  



   



Michael League





      

   





        

E

 F



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

44





  

                                   

 

                                   

 

51

 G

55



59



H

 

                                legato

Copyright © 2012

V.S.

2

C Melody

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

62

  

     

66

Open for solos Play melody 1st & last x

  K  

76

 

83

     



L



  

96

 

N Bsus7

    





M Esus9

 

        



                           4x

    



J

   



C6





Fmaj9

Bsus7





Esus9





   P   

Bsus7

102

104

Fmaj9

Q



 







        legato

Esus9

C6



  

Bsus7



 



Dm9



                  4x

O Esus9

98



                         



90



   



   

Bbmaj7(#11)



   



    Dm9



Bbmaj7(#11)



  

   

  

  

3

C Melody

                            



106

  R 1st x only   

  

108

4x - build throughout melody on synth only 1st x   

  S           

112

          

115

  

118

   



 

120



T



                    

         

  

 

Melody 2nd/4th x Repeat and fade

  

 

       





on repeat

130

 

 

rit.



sass   U  with               

126

  





 



          

  

        Slower Swung 16ths Drums

  



 



        

           

  

B-flat Melody

          

shakers

congas

11

B

19

C

    

               A                    



    

26

Binky

      



  

 D

E

                             



   





40

   

  

 



F



Michael League

  

         



   



           



   

              



  



 

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

 

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

 

46



51

55

   

59

H

                               legato

Copyright © 2012

V.S.

2

B-flat Melody

     

     

62

64

     



   

        

80

   

 

Open for solos

  



L



       

96

              M

 

N C#sus7

Gmaj9





F#sus9

D6





C#sus7









                     4x

   P   

C#sus7

102

  

104

Gmaj9

O F#sus9

98

Q







       legato

F#sus9

D6



   

C#sus7



 



   



    

                                 4x F#sus9

   

 

   



86

92

  

      

K Play melody 1st & last x  

        



I









J

68

  

Em9

    Cmaj7(#11)







Em9

    

Cmaj7(#11)



  

 

           

  

  

3

B-flat Melody

                        

106

1st x only             

  

R

108

4x - build throughout melody on synth only 1st  x

                    S

112

                

115

       

118

120

  

   



 

 

 

U



Melody 2nd/4th x Repeat and fade

on repeat

130

     

  

rit.

with sass                        

126

 



  

                    

         

   



T





      





 



         

      

  

Slower Swung 16ths Drums

               

         

  

Guitar

  shakers              congas B

 

11

Binky

A                         



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

 



E                              

33

 

39

 

45



              



  



C

27

Michael League

F

      

       

             

 

Esus9 Fmaj9   G              

Dm9                 

 

Esus9 Fmaj9                   

Dm9                   

 

51

55

C6                 

59

H Bsus7 

Esus9 

Esus9 

Bsus7 

Bbmaj7(#11)              Copyright © 2012

Bsus7 

C6             

2

Guitar

Bsus7      

62

Bbmaj7(#11)        

 I C#m9 arp chord with open E pull-offs, let ring   

         C#m

66

 

72



  K          

82

    

92

  

96



Open for solos Play melody 1st & last x

76

86

         J

      

              4x Esus9 M 







Fmaj9              

    N Bsus7 

C6       

4x Esus9 

      

102

P Bsus7





C6

   

    

L



 

    

             

                     Esus9 Dm9                       Bsus7 

   

Fmaj9    O                 

98

 



      

   

Bbmaj7(#11)          

   

Dm9                  Esus9 



Bsus7







Bbmaj7(#11)

   



  

3

Guitar

104

Q Bsus7

C6



Bsus7

       

107 Bsus7



 

      

Bbmaj7(#11)



Bbmaj7(#11)

      

       

109

Bsus7

C6

      

C#m9   R arp chord with open E pull-offs, let ring      



     

     

  

S C#m9 melody on synth only 1st x 

4x - build throughout

               

112

sim.

                         

115

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

T

119





Melody 2nd/4th x

      

hi voicing, reverb







     



C#m

   

  

F#m

  

mp

U C#m Repeat and fade F#m 

126

130



rit.

Slower Swung 16ths Drums

F#m11



  

123

   

C#m

   

C#m

   

 





F#m

   

F#m

D

   

  

Bass

  

Binky



shakers

congas

5



11

             A                                  mp

B

18

      

C

            

37



43







D

           

mf

            



F

              

E

       



           

25



              





              

31

Michael League



             

             



      

  Esus9                                 54 Dm9 Esus9 Fmaj9     Esus9 Dm9                                   50

G Esus9

Fmaj9

Copyright © 2012

2

Bass

59

H Bsus7

C6

          

62

Bsus7

Bbmaj7(#11)

        

Bsus7

Bbmaj7(#11)

Bsus7

C6

        

          

I      mp legato

               

65

                 

68

J



                           K

74

80





86

L



           

                  









Open for solos Play melody 1st & last x

           

  Esus9 Dm9                               

92

4x

Fmaj9

M Esus9

N Bsus7         

96

C6

    

Bsus7

   

Bbmaj7(#11)

     

  Esus9 Dm9                               

98

4x

O Esus9

Fmaj9

 

           

  

102

104

3

Bass

 

P Bsus7



Q Bsus7



    C6

C6

Bsus7

        

107 Bsus7



Bsus7





Bbmaj7(#11)

      



   

Bbmaj7(#11)

Bsus7



C6

      

R                 

Bbmaj7(#11)

          

mp

  

legato

                          

109

4x - build throughout melody on synth only 1st x E A C#m9

  

F#m C#m9 E A F#m                            

S

112

C#m9 E A F#m C#m9 E A F#m                            

116

alt changes last time: A

120

E

D

T

                                     mp

rit.

              

123

U    

126

130



Melody 2nd/4th x Repeat and fade





key bass - heavy





       

Slower Swung 16ths

  



    



 



Drums

 



 

  



  



Piano

5

Binky

Michael League

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

                             mp

              B

C

18

      

            

                  mf 

E











  

F

 



               

42





D





      





           

25

31

              







35



Bass Gtr

congas

11



      

      

Copyright © 2012

      



 





  

       



2

Piano

Esus9

 

Fmaj9

G                                                      54 Dm9 Esus9 Fmaj9 Esus9                                                                  49

 

59



                   

62



Bsus7

C6

    

Bbmaj7(#11)

                          C#m9

  

65



H Bsus7





E



Bsus7

Bbmaj7(#11)

                    

  

Bsus7

Esus9

        

           Dm9

         

             

  

E

 I C#m9      

A

C#m  J                      

 

C6

    

  

F#m

     

              bass

mp legato





A







F#m









C#m

 

                          

68

 

C#m7

                                 

  

     



 

   

  



Piano

 

72





      

  K  

C#m

         

76



C#m6

C#m6            

3

 C#º7   F#7  C#m6/E                                                  Open for solos Play melody 1st & last x    C#m7                                                           

      

 C#º7   F#7  C#m6/E                                                84 C#m C#m7        L                                                                  88 C#m6    C#º7    F#7 C#m6/E                                                                                              4x 92 Fmaj9 Esus9 Dm9   M Esus9                                                                             80



      

      

 

V.S.



4

Bsus7    N               

96



Bsus7

            

        

                                     Fmaj9

O Esus9

C6    P            Bsus7

102

105

Bsus7

Bbmaj7(#11)



              

Esus9

E

     

Dm9

                        





     



                 

Bsus7

Bsus7

  R C#m9       

  

Bbmaj7(#11)

Q Bsus7

Bbmaj7(#11)

C6

Bsus7

Bbmaj7(#11)

F#m

C#m9

C6



                      

108



C6

4x

98



Piano

A

     

E

     

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

mp legato

A

F#m

       

111

4x - build throughout melody on synth only 1st  x

  S            

                        C#m9

E

 

 A

          

F#m

   

 



Piano

                                     C#m9 E A F#m C#m9 E                     

5

114



alt changes last time:

A

 

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