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CheekToCheek LouDonaldson

This document provides a musical transcription of a solo performance by saxophonist Lou Donaldson. It transcribes the notes, rhythms, and chord changes of Donaldson's solo over the changes to the jazz standard "Cheek to Cheek" in the key of G major at a tempo of 290 BPM. The transcription is presented using standard musical notation over three pages and aims to accurately capture Donaldson's improvised solo performance.

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0% found this document useful (0 votes)
245 views3 pages

CheekToCheek LouDonaldson

This document provides a musical transcription of a solo performance by saxophonist Lou Donaldson. It transcribes the notes, rhythms, and chord changes of Donaldson's solo over the changes to the jazz standard "Cheek to Cheek" in the key of G major at a tempo of 290 BPM. The transcription is presented using standard musical notation over three pages and aims to accurately capture Donaldson's improvised solo performance.

Uploaded by

Wetse men
Copyright
© © All Rights Reserved
Available Formats
Download as PDF, TXT or read online on Scribd
Download as pdf or txt
Download as pdf or txt
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Alto Sax

Cheek To Cheek Transcribed by


290 BPM Lou Donaldson's solo from his CD "Quartet/Quintet/Sextet" Charles McNeal
lead into solo G E A D
 4                           
A B B
                     
G E A D G
3
F

 
                     

E   A D

                         
G E  

3
A

D G A D G E
                       3

A D G E A D G A
                            
B B F E   A
                            
cracked
note

D G E  
                      
2012
A D G
                         
A D G E A D G E
                           
A D G E A D G
                           
A D
                             
G E A D

3
G E A D

G E A D G E
                         
Bm
                          3

A

                      
 3
     3
D G E

                           
A D G E A D G A

2
2012
B B F E   A
                              
D G E  
                    
3
3

A D G
                      
A D G
           

3
2012

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