English (UK) 
Nederlands You should start with SATB! Two female and two male voices are relatively easy to distinguish. Dutch group The Oom Maw Maw has got very distinct voices and are perfectly suited for our first attempt. Hopefully you will be able to find one of their CD's!
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Artist: | The Oom-Maw-Maw |
| Album: | THE OOM-MAW-MAW ON STAGE (1989) | |
| Track: | 01 Pa-pa-oom-maw-maw |
Download the pdf file of the transcription here. For your convenience, a midi file has been made available.
- Transcription: Ton Schreuders
Downloads:
;FRAZIER / HARRIS / WHITE / TURNER
Thursday, 02 February 2012 01:00
114.56 KB
2,322
Thursday, 02 February 2012 01:00 11.04 KB 2,216 |
| The scat of the bass is from bar 8 on pretty much unintelligible. I've taken down the text more or less; of course he himself didn't have any text in front of him. Here and there the scat is striking, like i.e. the use of the word ‘no' (probably chosen to keep the bass part audible) and ‘gliders' like ‘zja' or something like that (bar 23). |
| The bass seems to sing quite often ‘and don't you know, and know, and know, dweeah...' etc. Initially I'd put other lyrics there, which approached the sound being produced... But later I decided to use the words I'm actually hearing. |
| The lyrics of the soprano in bar 31-33 are unintelligible! That's why the strange sentence there. Does anyone know the actual text? |
| How should you write down the scat in bar 48 and further? Officially it's ‘di di dit' but they're singing ‘di di dib' or ‘du du dub'... I chose a combination, as you can see. |
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Artist: | The Oom-Maw-Maw |
| Album: | THE OOM-MAW-MAW ON STAGE (1989) | |
| Track: | 02 Dayton, Ohio, 1903 |
A ballad, with alternating swing and non-swing as surprise element. And how do you deal with rubato parts?
Download the pdf and midi file of the transcription here.
- Transcription: Ton Schreuders
;RANDY NEWMANThursday, 02 February 2012 01:00 86.93 KB 2,229Thursday, 02 February 2012 01:00 5.28 KB 2,256 |
| 1st bar: I don't think the alto part intentionally sings ‘e-flat - f - e' here... therefore I chose to write down ‘e - f - e' in the transcription. |
| The absence of swing in bar 13/14 is denoted by duplets. Surely there's hardly time to put ‘no swing' and ‘swing' there... |
| I noticed this arrangement does something strange with ‘dayton ohio' (bar 15). I mean: an American wil pronounce city and state in one breath, right? The King's Singers sing it that way too. But The Oom Maw Maw chooses a somewhat ‘Dutch' approach: Dayton ... Ohio. |
| The d-flat of the alto in bar 26 is probably a ‘slip of the tone', but it is a nice one... (That is, if you hear it vocally, not as midi...) |
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Artist: | The Oom-Maw-Maw |
| Album: | THE OOM-MAW-MAW ON STAGE (1989) | |
| Track: | 11 Alfie |
Even more rubato... but the blend is perfect! (That makes it more difficult...)
Download the pdf and midi file of the transcription here.
- Transcription: Ton Schreuders
;B. BACHARACH / H. DAVIDThursday, 02 February 2012 01:00 81.94 KB 2,193Thursday, 02 February 2012 01:00 5.08 KB 2,173 |
| in B major?! Perhaps originally in C major but they dropped a semi tone? |
| ‘very freely, with rubato' is always difficult to write down. In bar 5 for instance the original is probably just a 4/4 time, although the recording denotes a 3/4 time. |
| After a lot of deliberation I dropped the idea of bar 9 = 3/4 and 10 = 4/4 with fermatas above the crotchets having ‘and...if...', and even a 5/4 bar here and there, in favour of the solution you're now looking at. The ‘solution' has been provided by bars 36 to 38, where a more tight rhythm is maintained; therefore bar 8 is seen as a bar with a large ‘agogic rest'... |
| how extremely passionate do bars 19 (and on) sound! And all praise for the group for the blend in bar 20 on the first beat: the lead sings very low, while the rest sings só softly (but passionate!) that the balance is maintained! (the tenor for instance is hardly audible in the beginning, although the final chord shows he's really there.) |
| in bar 35, the tenor seems to have difficulty finding his note. Actually he sings two semiquavers g-sharp - b instead of one quaver. I wrote down a quaver b anyway. |
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Artist: | The Oom-Maw-Maw |
| Album: | THE OOM-MAW-MAW ON STAGE (1989) | |
| Track: | 10 O Capella |
Lastly, a difficult one. Scat! Scat is mimicking of instrumental sounds in singing. This is done improvising, and that's why writing it down does feel a bit odd. But then again, if you can't scat, it's a nice way to learn the tricks of the trade!
- Transcription: Ton Schreuders
;A. TOUSSAINTThursday, 02 February 2012 01:00 151.01 KB 2,079- Transcription: Ton Schreuders
Thursday, 02 February 2012 01:00 14.13 KB 2,181 |
| the blue note of the alto in bar 12 is wonderful, because I cannot discern if she's singing an e or an e-flat! |
| the variations of the bass are purely founded on the vocal performance on the CD. In reality, I can't imagine that these variations would be pre-devised. But I wrote them down anyway... |
| the alto takes some rhythmic freedom in bar 22, so I take the freedom to write it down as such. |
| also bar 34 is problematic. The bass should be able to sing an e, while the tenor/baritone a blue note in the direction of e-flat. But how do you write that down?? I chose the following: in bar 31 they both colour clearly to e-flat, in bar 34 they colour (a lot less clearly) to e, so I've written it down that way. But the midi file makes it sound somewhat harsh... |
| from bar 50 on, the soprano has a rhythm section. Since it is not always possible to trace where she puts her accents, I left it to the ‘performer' to where to put them. That's the way scat works of course! ^-^ |
| the midi file sounds strange, because the ‘spoken notes' are interpreted by my sheet music program as percussion notes. Does anyone mind? |