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 Nates 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 Keitas 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 cant 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. Its 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 couldnt 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 Im 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
Binky Michael League

A


shakers

congas

11
B


17
C

24
D E

F
36

44

51

G

55

H
59




legato V.S.
Copyright 2012
2 C Melody

I

62

66 J




Open for solos

K

76 Play melody 1st & last x

83
L

4x
M Esus9 Fmaj9 Esus9 Dm9

90

96 N Bsus7 C6 Bsus7 Bbmaj7(#11)

4x
Fmaj9 Esus9

98 O Esus9

Dm9

P
Bsus7 C6 Bsus7 Bbmaj7(#11)

102

Q

104




legato
 C Melody 3

106

R 1st x only

108

4x - build throughout

S

melody on synth only 1st x

112

115

118

Slower

120 T rit. Swung 16ths Drums

Melody 2nd/4th x

U with

126 Repeat and fade



sass


on repeat

130





B-flat Melody
Binky
A
Michael League

shakers

congas

11 B

19

C

26 D E

40 F





46

G
51

55

H

59




legato V.S.
Copyright 2012
2 B-flat Melody

62 I

64

Open for solos
K Play melody 1st & last x


68 J

80 L

86

4x

92 M F#sus9 Gmaj9 F#sus9 Em9

96 N C#sus7 D6 C#sus7 Cmaj7(#11)

4x
Gmaj9 F#sus9 Em9

98 O F#sus9

P
C#sus7 D6 C#sus7 Cmaj7(#11)

102

104 Q





legato
 B-flat Melody 3


106

R

108

1st x only

4x - build throughout
x

melody on synth only 1st



S
112

115

118

120

T
Slower

Swung 16ths Drums

rit.

Melody 2nd/4th x

U Repeat and fade

126

with sass


on repeat

130


Guitar
Binky Michael League

A
shakers

congas

11

B C

27 D

mf

E
33

F
39

45

G

51 Esus9 Fmaj9 Esus9 Dm9

55 Esus9 Fmaj9 Esus9 Dm9

59

H Bsus7

C6


Bsus7 Bbmaj7(#11)
Bsus7 C6



Copyright 2012
2 Guitar

Bbmaj7(#11)

Bsus7
I C#m9 arp chord with open E pull-offs, let ring
62

C#m

66 J





72

K
Open for solos

76 Play melody 1st & last x

82 L





86

4x

M
Esus9 Fmaj9
Esus9 Dm9

92

N Bsus7

96 C6 Bsus7 Bbmaj7(#11)

O
4x


Esus9 Fmaj9 Esus9 Dm9

98

102 P Bsus7 C6 Bsus7 Bbmaj7(#11)

 Guitar 3
104 Q Bsus7 C6 Bsus7 Bbmaj7(#11) Bsus7 C6

R arp chord with open E pull-offs, let ring

107 Bsus7 Bbmaj7(#11) C#m9

109

4x - build throughout

S C#m9 melody on synth only 1st x

112

sim.

115

C#m9

119 T
arp chord with open E pull-offs, let ring

Slower
F#m11


123

Swung 16ths Drums

rit.

mp

Melody 2nd/4th x

U C#m Repeat and fade F#m C#m F#m

126

hi voicing, reverb

C#m F#m C#m F#m D

130

Bass
Binky Michael League

A

shakers

mp
congas

11 B







18 C



25 D





mf
31 E







37

43 F







G Esus9
Esus9 Fmaj9

50


Fmaj9
Esus9

Dm9 Esus9 Dm9

54


Copyright 2012
2 Bass
59 H Bsus7 C6 Bsus7 Bbmaj7(#11) Bsus7 C6

62 Bsus7 Bbmaj7(#11) I


mp legato

65

68 J

Open for solos

74 K



Play melody 1st & last x


80 L

86

Esus9


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Dm9
M Esus9

92

96 N Bsus7 C6 Bsus7 Bbmaj7(#11)

Esus9


4x

98 O Esus9
Fmaj9 Dm9

 Bass 3

102 P Bsus7 Bsus7

C6 Bbmaj7(#11)

104 Q Bsus7 C6 Bsus7 Bbmaj7(#11) Bsus7 C6

R

107 Bsus7 Bbmaj7(#11)


mp legato

109


4x - build throughout

112 S melody on synth only 1st x
C#m9 E
F#m C#m9 E A A F#m


116 C#m9 E A F#m C#m9 E A F#m

alt changes last time: A E D
120 T

mp

rit. Slower

123 Swung 16ths Drums

Melody 2nd/4th x
126 U Repeat and fade

key bass - heavy
130









Piano
Binky Michael League

A

shakers

Bass Gtr

congas mp

11 B

18 C

25 D





mf
31

35 E






42 F





Copyright 2012

2 Piano
Esus9 Fmaj9 Esus9
G
49

54 Dm9 Esus9 Fmaj9 Esus9 Dm9

59 H Bsus7 C6 Bsus7 Bbmaj7(#11) Bsus7 C6

Bsus7 Bbmaj7(#11) E A F#m

I C#m9
62




bass

mp legato

C#m9 E A F#m C#m

65

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C#m C#m7

68


Piano 3
C#m6
72
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Open for solos

K
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76 Play melody 1st & last x

C#m6
80

C#7 F#7 C#m6/E

L
84 C#m C#m7

C#m6
C#7 F#7 C#m6/E

88

M Esus9
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Fmaj9 Esus9

92 Dm9

V.S.

4 Piano

N
Bsus7 C6 Bsus7 Bbmaj7(#11)

96

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98 O Esus9

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102 C6 Bbmaj7(#11)

Bsus7 Bbmaj7(#11) Bsus7 C6 Bsus7 Bbmaj7(#11)

105

R C#m9
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108

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S
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111

C#m9 E A F#m


Piano 5
114





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alt changes last time: A

117

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E D

T
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125 Swung 16ths Drums U C#m Repeat and fade F#m11

C#m



thick synth

key bass - heavy

F#m9
129 D

C#m

F#m11

C#m

F#m9

 Binky Michael League
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! % % % & 5 & % & %
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Esus9 Fmaj9 Esus9 Dm9 Bsus7 C6 Bsus7 Bbmaj7(#11)
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Pno. 11
++ ++ ++ ++ - 11 ## / ++ ++ ++ 11 ++ ++ - ++ 11
/ % %& 5 & %& % "
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98 O 4x Fmaj9 Esus9 C6 Bsus7 Bbmaj7(#11)
Esus9 Dm9 P Bsus7
C Mel
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F#sus9 Gmaj9 F#sus9 Em9 C#sus7 D6 C#sus7 Cmaj7(#11)
Bb Mel
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Esus9 Fmaj9 Esus9
% % Dm9 Bsus7 C6 Bsus7 Bbmaj7(#11)

Gtr
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Esus9 /Fmaj9
- /+ Esus9 Dm9 Bsus7 C6 Bsus7 Bbmaj7(#11)
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, ,
Pno.
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104 Q
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legato
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Bass
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108 R
C Mel ( (
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%

Bb Mel ) ( (
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Gtr
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legato
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Pno. bass
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mp legato
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112 S melody on synth only 1st
+2 x 7 7 +2
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C Mel
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117 T
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hi voicing, reverb
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128
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C Mel
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Gtr
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1 C#m
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1 D
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Pno.
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