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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.
Binky Michael League
Copyright © 2012
C Melody
A congas
shakers
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17 C
24 D E
36 F
44
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62 I
66J
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115
118
T120rit.
SlowerSwung 16ths
Drums
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Repeat and fade126
on repeat with sass
130
C Melody 3
Binky Michael League
Copyright © 2012
B-flat Melody
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on repeat
with sass
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B-flat Melody 3
Binky Michael League
Copyright © 2012
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Binky Michael League
Copyright © 2012
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Binky Michael League
Copyright © 2012
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