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Notes from Michael!“Lingus”written and arranged by Michael Leaguetranscribed by Chris McQueenrecorded on We Like It Here, GroundUP Music / Ropeadope Records 2014!It was Snarky Puppy’s second trip to Europe, sometime in 2012- I can’t remember whenexactly. 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. Wewere flying on Ireland’s most prominent non-budget airline, the interestingly-named AerLingus.!As a side note, I would love to have been in the board meeting where the shareholdersagreed upon that moniker seriously. Think about that discussion. [I have come to learnsince 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 wehad just played about how many inputs/microphones/D.I. boxes we needed, and I wouldget the response, “Dude. It’s fine. Most nights, I throw one D.I. up on stage and watchsome idiot dance around with his IPAD.”!I knew very little about Dubstep at that time (and I probably know even less now), but Iknew that the only thing I really liked about it was the tempo. There’s something aboutmusic at an extremely low BPM that makes you groove in a weird way. I once tried towrite a house-style tune for Snarky Puppy and “Whitecap” was the result, so I figured I’dgive 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 can’t really doanything right, I had a lot of trouble putting the tune in 4/4. The rhythmic figure in thekeys and the bass line were very strong in my head from the beginning, so I decided notto fight it and just roll with 5/4. I chose to bring the melody in with the entrance of therhythm section something I don’t think I’ve ever done in a Snarky Puppy song. I thinkit 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 justbecause it’s modal, major, and has ornaments), so I kind of lucked up in tying the tune toits title.!

Letter I is some really nerdy stuff. I wanted a percussion break there to create a bridgebetween the open keys solo and the horn soli stuff in letter J, and Nate suggested playingsome 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 lookslike (the hits we play are the red subdivisions). The cool thing is that, taken out of thecontext of the song’s tempo, it’s 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? Don’t 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 hadafter really analyzing the competitive nature of my Brooklyn-bred buddy, Cory Henry.You haven’t seen real fire until you’ve seen this guy play basketball. Or Hearts. OrXBOX. Or anything involving a winner and loser. So, I figured that after a gigantic opensolo, it would be nice to give him some extra fuel by having the horns play some reallyblazing 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 adventurousimprovisor. They’re given a tempo (a fast one at that), and a bass progression that goesfrom 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 Cory’s solo(the chordal stuff which wraps up just before 5:00 on the album) is some of the mostbeautiful harmonic improvisation I’ve ever heard. He has a real gift with that. I feel that ifsomeone transcribed it and orchestrated it for a symphony, it would be ridiculous. Sosomeone 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 alimitless 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 aren’t astandard number of bars. End it with a hit in an interesting place, have thedrummer catch it, and you’re off.

5) Use effects. Lots of them! This comes from an electronic place, after all.

LINGUSC MelodyMichael Leagueq 1314#5 Ò &[A] % 4j‰œœ #œ #œ œ. ‰ j ùœœœ 1–48.#œœœ&œ ù Œ Œ j‰œœ # œ # œ œ # œ œ 14#‰ j&œ œ #œ .œ. ‰ j ùœœœ.œœœ ùœ œ œ17# &[B]#‰&j‰œœ #œ #œ œ 21‰‰ œ‰ œœ‰ ‰‰‰ œ‰ œœ‰œœœœ œœ œœœœœ œœ œ23#‰&‰ œœ‰ œœ‰ œœ‰ ‰‰ œœ‰ œœ‰ œœœœœœœœœœœœ25To Coda#& ‰ œœœœ‰ œœ‰ œœ‰ œœ‰ ‰ œœœœ‰ œœ‰ œœ‰ œœ‰27 [C] Gtr Melody6D.S. al Coda# œœ œœ Ò & œ œ28–3335 CODA#‰&œœœœ‰ œœ‰ œœ‰ œœ‰ ‰‰ œœ‰ œœ‰ œœ‰œœœœ37#‰&œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ ‰ œ œœ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰œœœœ39#‰&‰‰ œ‰ œœ‰ ‰‰ œ œœ ‰ œœ œœ ‰ œœ œœ ‰œœœœœœœ œœ œœ œœ œœ œœ œœ œ œ œœœœ œCopyright 2014 Mikalimu, SESAC

2C Melody41#& ‰‰ œ œœ ‰ œœ œ ‰ œ œ œ ‰‰ œ œœ ‰ œœ œœ ‰ œœ œœ ‰œœœœœœœœœœœœœœœœœœ œ œœœ œ œ[D] Gtr Melody433#œ œ Ò & ‰ œ œ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ œœ œ œ45–4748Build#Drum œ œ & œœ # œœ n œœ œœ œ œ # œœ nœœ mp cresc.[E]. -œ . - . - . - .r .- .# Œ ‰ œ ‰ œ. œ rœ œ. -œ .‰œœ‰œ œ œ Jœ œ œ œ œ œ j œ œ œ œ œ œ œ&J Jœ5255. - . . - . œ œ . - . œ rœ . - . -œ . - . - .jj‰ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ& œ œ ‰ œ œ œ œ rœJœ œ œ#58. - . r . - . - . - .j ‰‰œr& œ œjœ œ œ œ œ œœ œ œ œ œ œœ œ œœ œ[F] Solo 160D“/CDA‹7F 7# E“& V V V V V V V V V V V V V V V V V V V V#64D/CA7„ˆˆ4GF 7#Eü & V V V V V V V V V V V V V V V V V V V V †[G]. -œ . - . - . - .r .- .# œ œ ‰ .j - . œ rœ œ. -œ .‰œœ‰œ œ œ Jœ œ œ œ œ œ j œ œ œ œ œ œ œ&œ œ œœ6871. - . . - . œ œ . - . œ rœ . - . -œ . - . - .jj‰ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ& œ œ ‰ œ œ œ œ rœJœ œ œ#

C Melody374. - . - .‰ œj œ œ œ rœ œœ œ œ œ. - . r . - .‰& œ œj œ œ œ œ œ œ œœ#44[H] Solo 2. . .# 4rjrjŒŒ‰ ‰ŒŒ‰ ‰& e e e e eeeeeeeeeeeeee476bass cuessub p80#ŒŒ&e e84e e[I] Drum Call# ‰ . . . .‰ r‰ j‰ r‰ j‰ r ‰ j ü†e e e e e e e e e e ne e e e e ‰‰ Œ ‰ ‰‰œ ‰œ œ œ&jœrœjœrœjœrhy cues[J] Soli 1. . . .#œŒ œ œ œ œœ œ œ Œ Œ œ œœœœœœœœ œœœœ&œœ œ œ8689.j .# . œr‰ ‰œœœœœœœ&œœœ œŒœ œ œœ œ œ Solo[K] Continues œ# & œR ‰ 92[L] Soli 2.j. r.r Ò ‰ œj œ ‰ ‰ œ œ ‰ ‰ œj œr ‰ œ ‰ ‰ œRJ7 93–991024# ‰ .j r ‰ ‰ .j œ ‰ ‰ œ œ. œ œ œ . Solo Continues Ò œ R&Rœ ùœœ œ104–107108 [M] Soli 3# ‰ œ œ. œ # œ nœ œ # œ . # œ nœ œ œ b œ . œœœœœœ œ œ &Rœù ù1113Solo Continues#‰ œ œ œ œ œ œ Ò œ œ œ bœ œ w&R113–115

4C Melody[N] Soli 4#& Ó Œ œ œ œ # œ œ # œ œ nœ œœœœ # œ œ œ n œ #œ œ œ 116. œ nœ œ œ œ œ œ ùœSoli 5[O]Solo Continues4# Ò &œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ120–123126#& ‰ œœœœœœœœœœœœœœ œœ œ . Solo Continues 2 Ò œœ wÓ.Œ œ œœ129–130132 [P] Soli 6.œ œ #& .‰ œ œ œ œ œSolo Continues.œ œ . .œù ùœœ œ 137œ œœ œœœœœœ‰‰‰‰& œ Œ Œ ‰ œ œœ‰ œœ‰ œœ‰ œ ‰œ#140 [Q].# ‰ œj œr ‰ ‰ œj œr ‰ ‰ œj œr ‰ œr ‰ ‰ œj ‰ œj œr ‰ ‰ œj œr ‰œœ œœœœ œœœœ œœœœœœœœ œœœœ œœ&ff.# ‰ œj œr ‰ œr ‰ ‰ œj ‰ œœ. œœ ‰ ‰ œœ. œœ Jœœ.œœœœœœ. œ ‰ œ ‰ ‰ œ ‰ œJRRJœœœœ. œR ‰ ‰ œJœœœœ. œR ‰ ‰ œJœœœœœœ û œR ‰ œR ‰ ‰ œJûû

LINGUSBb MelodyMichael Leagueq 131[A] % Ò 4### 5&4. . - .jœœ‰œœœù Œ Œ œ œ ùj‰œœ #œ #œ œ1–49### &j‰œœ #œ #œ œ j‰œœ #œ #œ œ15. . - .jœœœ ‰ œ ù œ œ œù œ œ œ ###& 20### &j‰œœ #œ #œ œ [B]‰ œœœ‰ œœ‰ œœ‰ œœ‰ ‰ œœœ‰ œœ‰ œœ‰ œœ‰œœ23### ‰&‰œœ‰œœ‰œœ‰ ‰ œœ‰œœ‰œœ‰œœ œ ‰ œœ‰œœ‰œœ‰œœ‰œœœœœœœœœ[C] Gtr Melody### ‰œœ œœœ œ‰‰œ‰œ‰œœ œ &œœœœ œ266To CodaD.S. al Coda Ò 28–3335## CODA & # ‰ œ œ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ ‰ œ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰œ37### ‰&œœ œœœœœœœœœœ œœ œ œ œœœ39### ‰&‰ œ œœ ‰ œœ œœ ‰ œœ œœ ‰ ‰‰ œ œœ ‰ œœ œœ ‰ œœ œœ ‰œœœœœœœœœœœœ œ œœœ œ œV.S.Copyright 2014 Mikalimu, SESAC

2Bb Melody41### ‰&‰ œ œœ ‰ œœ œ ‰ œ œ œ ‰‰ œ œœ ‰ œœ œœ ‰ œœ œœ ‰œœœœœœœœœœœœœœœœœœ œ œœœ œ œ[D] Gtr Melody433 ### ‰œœ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ Ò &œœœœœœ œ œ45–4748Drum Build### &œœœ # œœœ n œœœ œœœ # œœ nœœ mp cresc.[E]. - . r . - .### Œ ‰ œ ‰ œ. œ r œ œ. -œ œ. œ œ ‰ œ. -œ œ. -œ . - .J Jœ œ œ œ œ ‰ jœ œ œ œ œ œ œ&Jœ5255###&.j - . . - . œ œ .j - . œ r œ . - . -œ . - . - .‰ œ œ œ œ œ œ œ œ ‰ œJ œ œ œ œ œœ œ ‰ œ œ œ œ rœ œ œ œ58. - . r . - .j - . - .‰œ‰rjœ œ œ œ œ œ& œ œœ œ œ œ œ œ œœ œ œœ[F] Solo 160E“/DEB‹7G 7### F “& V V V V V V V V V V V V V V V V V V V V###64E/DB7„ˆˆ4### F & V V V V V V V V V V V V V V VAG 7ü V V V V V †[G]. - . r . - .### œ œ ‰ .j - œ. œ rœ œ. -œ œ. œ œ ‰ œ. -œ œ. -œ . - .‰œ œ œ œ œ jœ œ œ œ œ œ œ&œ œJœ6871###&.j - . - . œ œ .j - . œ rœ . - . -œ . - . - .‰r‰ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œJ

3Bb Melody74.j - . - .‰rœ œœ œœ œ œœ œœ. - . r . - .‰œœjœ œ œœ œœ œ œ###&76### & 44[H] Solo 2. . . 4 e e Œ e e Œ e e ‰ er ‰ ej e e e Œ e e Œ e e ‰ er ‰ ej e4sub pbass cues80###ŒŒ&e ee e[I] Drum Call### ‰ & jœrœ. . . .‰ r‰ j‰ r‰ j‰ r ‰ j ü†e e e e e e e e e e ne e e e e84 ‰ ‰Œjœ ‰rœjœ‰ ‰ œ œ œ œ ‰rhy cues[J] Soli 1### œ œ œœ œœœ œ œœœœ&86.j. . . .rŒ œ œ œ œ œ œ œ Œ Œ œ œ œ œ œ œ œ ‰ œ ‰ œœœ œœ.[K] Solo907### œ. œ œ œ .œ &Continues œ œŒ œ œ œœ ‰ œ œR Ò 93–99[L] Soli 2### ‰ .j r ‰ ‰ œ. œ ‰ ‰ .j r ‰ œ ‰ ‰ œ. ‰ .j r ‰ ‰ œ. œ ‰&œ œœ œœ œJJ RRJ R100Solo Continues103[M] Soli 3. Ò ‰ œR œ œ # œ nœ œ # œ œ # œ nœ œ œ nœ œ œ4###&.‰ œR œ œ œ œ œ ùœ104–107110### œœ œ œ ùœ ùœ &3Solo Continuesœœœœœœ œ œ œ nœ‰ R Ò œ w113–115