Lage Lund on Hindsight

Transcription and Analysis

by Jeff McGregor

www.smallslive.com
www.jeffmcgregormusic.com
 Lage Lund on "Hindsight"
The Will Vinson Quintet-8/19/2013-Set 1
Transcribed by Jeff McGregor
(56:24-59:36) b b b

C maj7 B 7( 9) B maj7 A 7( 9)

Concert
4
&4 J J

. b
J
3

b b b b
A maj7 G 7( 9) G maj7 F 7( 9)
b b b b b b b # #
& b J J b ( J)
5

E maj7 (#11)
# # # # # # # .
& J #
9

D maj7 (#11)

&w # J # #
b7
13

D G7 C min7
b . b b
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17

C min7
b b . B 7 alt

& b J J
21

B 7 alt
# #
& j .
25
b
b
C maj7 B 7( 9)
.
& # n J # b
J
29

JeffMcGregorMusic
 Lage Lund on "Hindsight"
2 b b b b

. b b
B maj7

A 7( 9)
b b
A maj7 G 7( 9)
J b
& b b
b
33
b
G maj7 F 7( 9) E maj7 (#11)
b b b # # #
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37

D maj7 (#11)

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3 3 3

#
3

41 3
b7 3

b # n G # b
D 7

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3

45

C min7 C min7
b b
& b b b b
49

B 7alt
# # b b
& # n n
53

B 7 alt
b n
& b b

b
57
b b
C maj7 B 7( 9)
b B maj7

A 7( 9)
# # # n b n
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b b
61
b b
A maj7 G 7( 9)

G maj7
b
F 7( 9)
b b b b
b b n b b
& b b J b b b
3 3
65 3
 Lage Lund on "Hindsight"
3

# # # # #
E maj7 (#11)
# # # # # #
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# # # J
3 3
69 3

# # # # # #
7 (#11)
D maj
. # #
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b7
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b
D
b b G7

C min7
b
b J ( ) J b
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3 3 3 3
77

C min7 B 7 alt
# #
&
3 3 3 3 3 3
81

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85
b
C maj7
w .
B 7( 9)
# #
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89
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b b b
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b
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7
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b
E maj7 (#11)
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b b b # # #
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97

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7 (#11)

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101
 Lage Lund on "Hindsight"
4 b
# # bD #
7
G7
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3 3
105

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b
C min7

b b
&
109

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b
j


b
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# b
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117
b b
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&
b b
121
b b
A maj7 G 7( 9) G maj7 F 7( 9)
b b b b b b b j
& J J J b
125

E maj7 (#11)
# # # # #
# # # # # # #
& # . J #
129

D maj7 (#11)
# n # # # # n
# # #
&
133 b7
b D b
b b b
7
C min
b b
G7
b
&
3
137
 Lage Lund on "Hindsight"
5
C min7 B 7 alt

&
b b b b
141

b b
B 7 alt
b
&
b
B 7( .9)
145

b # #
.
7
C maj
b
& J J # #

b b b b
# n
149

B maj 7

A 7( 9) A maj7
b # #
G 7( 9)
b b #
&
153 b b
n b b b
G maj7 F 7( 9) E maj7 (#11)
b b
b b # #
#
& J
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D maj7 (#11)
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& J # # # J # J J
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b b b
G7
b
# #
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165

#
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b
7
C min
b b
j

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3
169
B 7 alt
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J b
&
3
173
 Lage Lund on "Hindsight"
6
B 7alt b #
. C maj7

& J . b J . j
b. j
3 3
177
 C maj7

&
Modal Sharp-Eleventh Chords in Lage Lunds solo on Hindsight

Lage Lunds solo over Cedar Waltons Hindsight demonstrates his exceptional sense of

# # # #
F# Major Triad E Majorhow
Triad he approaches sharp-eleventh
B Major Penatonic chords in the

# #
melody and harmony. The following considers
#
7 (#11)
E
# #
maj
#
modal section of this tune.
#

& # # #
Analysis # #
2
9 7 1 3 5 3 #11 6 9 #11 6 3 5 1 3 9 7 9 7 6 5 7 6 5 2 5 6
Sharp-eleventh chords are commonly used in jazz in a variety of ways. The middle section of
Hindsight uses major seventh sharp-eleventh chords to create a modal texture:

E&
maj7 (#11)
6

& Dmaj7 (#11)

# # # #
A Major Pentatonic E Major Triad

n
D Major Triad

# J
10

60

D&maj7 (#11)

&
5 3 1 6 7 2 5 7 6 7 6 7 6 7 #11 9 6 13 #11 9 4
64

14 &Lydian mode is often used over this chord type:

The

& maj7 7(#11)

(#11)
EEmaj D maj7 (#11)

# # # # #


15

&&
# # #
68

60

& E maj
D maj
While 7 7 (#11)
(#11)
D maj7 (#11)
Lydian scales work well and are commonly used, there are other ways to approach sharp-

ww # # #passage:
www # # ww # www # #
17

&
on&the# following # # # w
eleventh chords. Lunds solo provides a number of excellent alternatives. Our analysis focuses
w
72
64

D maj#7(#11)
21

& # # #
# # # # # # # #
7 (#11)
maj7 (#11)
E Emaj
# # #
&& # # # # # # #
76

68

&D maj
7 (#11)

# # # # n
# J
72

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84

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 &

5 3 1 6 7 2 5 7 6 7 6 7 6 7 #11 9 6 13 #11 9 4
14 &

E&
14
maj7 (#11) D maj7 (#11)

# combines solo
# two# melodic #
One is a triad pair, specifically
15 in Lage Lund on Hindsight
& #
E maj7 (#11)# maj7(#11)
This excellent passage
Dmaj # #
devices.7 (#11)

# #
E/F# over E and D/E over Dmaj7(#11):
#
asdf
&E maj7 (#11)# # #
15

Analysis
D maj 7 (#11) # #
& # www # # # www # # # # # www # www # #
17

E maj
The middle
7 (#11) section of Hindsight uses parallel major seventh

D maj7 (#11) sharp eleven chords:
ww(#11) # # # www # # # D maj# ww7 (#11) # ww #
17

& E maj7#7(#11) # w of eachw chord: #

21

E maj w
& #Cmaj7# # # # #
The other is a major pentatonic starting on the fifth note

60 & Dmaj7 (#11)

21

E maj7 (#11)
&# # # # #
&D maj
7 (#11)
#
& E maj7 (#11)
C maj7
# # # #
F# Major Triad E Major Triad B Major Penatonic

# # # # # #
64

Here is a&breakdown #
& # # # # # of where these two devices occur:
2

# #
# # # #

F# Major Triad E Major Triad B Major Penatonic

&
9 7 1 3 5 3 #11 6 9 #11 6 3 5 1 3 9 7 9 7 6 5 7 6 5 2 5 6

# # #
E maj7 (#11)
# # #
68& #
2 & # # #
6 9 7 1 3 5 3 #11 6 9 #11 6 3 5 1 3 9 7 9 7 6 5 7 6 5 2 5 6

& D maj 7 (#11)

# # J #
& # #
A Major Pentatonic E Major Triad

n
D Major Triad
10

6 &
72

& # #
5 7 3
(#11)
D maj
#
1 6 7 2 A 5Major
7 6 7 6 7 6 7 #11E 9Major
6 Triad
13 #11 9 4

Pentatonic

# n
well-worn
D Major Triad

# J
10

&

The combination works beautifully and illustrates a compelling alternative to the lydian
&
76
14 mode.
5 3 1 6 7 2 5 7 6 7 6 7 6 7 #11 9 6 13 #11 9 4

&
E maj7 (#11) D maj7 (#11)

80&
# # #
& # # #
15

# #
14

E maj7 (#11)
&E maj7(#11)
7 (#11)
D maj
# # D maj7 (#11)
#
& w # ##w #
15
17

# # ww # ww # #
& # ww # # ww # # # w # #
84

w
E maj7 (#11)

21

&
(#11)
D maj77(#11)
E maj7 (#11) D maj
& #www #w # # # # ww ##www # # #
17

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w
&
88

21

E maj7 (#11)
D maj7 (#11)

www.jeffmcgregormusic.com
&
& # # # # # #
92
 Application

The following pattern uses the triad pair discussed above. It should be played through the full
range of your instrument. Your goal should be to work through these transpositions without the
music:

#
3

#
#
3

& #
3

25 3 3 3 3
3 3 3 3

# #
# # # # #
3

#
3

29
& # #
3 3 3 3
3 3 3 3
3

# # # # # # # #
3

# #
3 3

# #
3 3

& # ## ### ##
3 3

33
3 3 3

3 3

# # # # # # # # b b b b b b
3

& # # # # # #
3

b
3

b
3

37 b b

3 3
3 3 3 3
3 3

b b b b

b b b b b
& b b
3

b
3

41 b
3 3 3 3 3
3 3 3 3
3

& b b
3 3 3
3 3

45
b 3 3 3 3
3 3

&
49

&
52

&
www.jeffmcgregormusic.com
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