The Herbie Hancock Collection (Artist Transcriptions. Piano) [Herbie Hancock] on *FREE* shipping on qualifying offers. (Artist Transcriptions). This one is from Herbie’s classic Maiden Voyage album. The piece is constructed of rubato head and jazz waltz solo section. The Eb-7/F (F. This isn’t the flashiest Herbie I’ve heard (compared to his solo on “No More Blues” Labels: #ttmusic Blue Note Herbie Hancock Transcriptions.

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Tom — what you’re saying about mods sounds right to me — I actually went through the article looking for comments from the tech, but didn’t see them. When you say a stock Rhodes, I don’t know. In the ’80s article, he seemed to be talking about a particular Rhodes he’d had for a while, and didn’t dispute the interviewer’s assertion that it was a prototype.

I find it a little hard to believe that he literally used the same Rhodes for a long stretch, since Zawinul, who has the most similar recording and touring history, said “I also had plenty of Rhodes electric pianos.

It is interesting to observe the relationship between instrument maker and the development of music. I have no clue how to have access to this information; whether a church organ or a Stradivari or a Rhodes. A talented player and builder. The more sensitive to music, the maker is, the better for us all.

Yeah that Paul Desmond is a masterpiece. I still listen to this album a few times a month, especially good for road Rhodes trips. Yes that’s a great version with Herbie on Rhodes – those early silvertop Fender Rhodeses had such a different tone in comparison to the mid 70’s. Here’s another ‘how to play’ video for the series: This would mean he had the same piano for sextant crossings mwandisihi and headhunters and thrust, then for manchild, sunlight, and secrets, then another new one for feets dont fail, monster, etc I know he had a prototyp MKV 88 in his studio too Here’s ‘Sun Touch’ just in case you’re interested in figuring out a particular voicing or lick.

I’ve got a very busy period coming up but I’ll try my hardest to keep the videos flowing. The key to all Herbie solos or any other legendary jazz pianist, for that matter is that not only do you have to find the notes, you have to nail the feel and the dynamics, the phrasing too.

Essential especially with Herbie’s Rhodes stuff.

Too often you see note-for-note videos, where the transcriber just plays the notes and completely ignores the time herbei. Hi Chris – many thanks for the reply – I would have given out my Actual Proof solo transcription but at the moment I’m in the process of investigating publishing and copyright for Herbie’s 70’s songs because I plan to release the transcriptions properly if it proves to be viable.

As I always say though, the value is in doing the transcription yourself – it’s like musical archeology! Thanks, Tom Originally Posted By: It’s always great to meet other Herbie aficionados! Too often, I disagree with the voicings and it’s also a very tough balance to notate something in a legible form rhythm-wise, whilst getting across the swing or lilt of a phrase that transcrpitions played well behind the beat.

The bottom line is – out of all the transcription books I’ve seen, I’ve always looked at them herbbie then gone back and done it properly myself. I’m gradually trying to transcribe all of Herbie’s back-catalogue from that era I really love your transcriptions. Can’t wait to see more. Lets see you do it. Also when are we going to see Actual Proof and Shiftless Shuffle in a video or book? God bless you and hope to see more soon. Don’t have much to add regarding transcriptions, and I can appreciate the hard work that goes into them, but I doubt that Herbie ever played the same song the same way twice.


I’m not saying there’s nothing to learn from transcriptions, but you’d be much better off working on technique, understanding harmony, and developing your own voice. Learning someone transcrriptions solo note for note defeats the whole idea of jazz, which should be a spontaneous dialogue between the players.

They played much of his earlier fusion stuff, ie Chameleon, Watermelon Man, but that mostly consisted of quoting the head then going off into wonderful solos and ensemble playing loosely based on the melody. There might have been a Rhodes in the back but he didn’t play it. In one section he did some really nice things with a vocoder. The thing about Herbie is he doesn’t look back, always bancock, willing to try new things, expand his playing into new areas. This was most evident Sunday.

I was particularly taken by the interplay between the musicians, bouncing ideas off each other, exchanging smiles and acknowledgements – especially between Vince and Herbie when they were comping behind the other solos.

Vince is perhaps the best ensemble drummer I’ve ever seen. He’d catch a rhythmic figure with Herbie, then they’d look at each other and smile, like they were having a conversation. Honestly, Herbie looked like a kids having a great time throughout the concert. Amazing musician and person. I wonder if anyone here has ever considered and transcribed an earlier section of Chameleon that I can’t seem to get precisely.

The part I have in mind occurs a couple of times. But the first time I believe is at the 7: The thing about Herbie is he doesn’t look back, always forwardwilling to try new things, expand his playing into new areas.

Totally agree about studying and training hard. I think studying classical and then applying the interval training really helps. Also helped taking Jazz Piano and Theory Comp too. Having to transcribe Charlie Parker solos was a scarry thought for a 19 year old kid. Nice of you to share your stuff here with all of of us.


Keep it up, I am waiting for Spank-a-Lee. Never got around to that one. These are all inner, in nature, personal, nothing directly to do with music theory, or reading music. They come through my intuition while on a bandstand. One of these eye openers is this realization that tells me. When musicians solo, they are most definitely not hearing the same rhythms that another person hanocck hearing.

Their inner experience of a “rhythmic bed” is much more hidden or covert. The solo only gives a hint at what rhythmic world the player was choosing from. This aspect of music is seldom addressed. I have played trznscriptions a very large number of equally diversified musicians over my career. I can tell you, that playing with them, backs this belief of mine up.

And listening to Master’s play, speaks to me None of the above takes one iota away from the very good, helpful work you have done and continue to do. Thank you for this.

Herbie Hancock exact, note-for-note transcriptions on Rhodes – MusicPlayer Forums

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You are not logged in. Page 3 of 3. Herbie Hancock exact, note-for-note transcriptions on Rhodes [ Re: Resolution 88 Senior Member Registered: I’m pretty sure just from the sound and also from live recordings video and audio throughout the 70’s that Herbie had at least a number of different Rhodes pianos through the years.

I don’t know about the prototype theory – if I ran the Rhodes factory and supplied one to Herbie, even if I said it was a ‘stock’ model, I’m sure I’d have chosen trranscriptions best out of ‘s – but I don’t know whether what Herbie had was anything more than a fantastic example, slightly modified. I suppose it counts as a prototype if he had it modified to have the effects loop jacks before they were added to the production model.

Who knows where the main touring Rhodes es? People go on about the model ‘E’ hire Rhodes being one of the greatest ever examples but in my opinion, the Rhodes sound from Hherbie mid 70’s albums is the greatest ever recorded Rhodes sound.

Jazz Transcriptions

There are many factors at play, not least the musician playing it plus the Harrison console used to record an album like Sunlight, but surely that particular Rhodes that Herbie used must still be one of the best sounding in the world. That’s what I’ve strived to get out of my studio suitcase. I’ve got a second suitcase I use for gigs but it’s a very different sound despite being an identical trancriptions – the only difference I can see that’s causing the difference is the hammer tips square vs non-square.

If only they still manufactured square hammer tips Paul Harrison Senior Member Registered: Check out this track from Musicale Gold Member Registered: These broke very often and I needed a lot of replacement tines within the 1st 2 years of ownership. The amplification did a lot to the Fender Rhodes mkI sound. Hacock I used mixers, I used EV speakers. How long did this take to accomplish?

If I was to transcribe something like ‘Actual Proof’ however; that one took several days How do you verify perhaps the most difficult part of the music- the melodic rhythms?

Though those harmonies can’t be easy either. Appreciate this endeavor of yours. Would kill for your transcription of ‘Actual Proof’ solo, I’m playing this tune for my college fusion ensemble this semester in about 10 weeks and that would be so helpful.!!

Hi Tom I don’t know if I’ve done this quoting thing properly. BRW The key to all Herbie solos or any other legendary jazz pianist, for that matter transcriptuons that not only do you have to find the notes, you have to nail the feel and the dynamics, the phrasing too.

Wags Don’t have much to add regarding uerbie, and I can appreciate the hard work that goes into them, but I doubt that Herbie ever played the same song the same way twice. A deep grasp of rhythm is a prerequisite for playing the way HH does.

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