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Blue Train Transcription

The document contains a transcription of Kenny Drew's solo from John Coltrane's 'Blue Train' (1958). It includes musical notations and instructions for performance, indicating a swing style and a tempo of 130 beats per minute. The transcription serves as a detailed guide for musicians to replicate the solo.

Uploaded by

simonpalcard
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
69 views3 pages

Blue Train Transcription

The document contains a transcription of Kenny Drew's solo from John Coltrane's 'Blue Train' (1958). It includes musical notations and instructions for performance, indicating a swing style and a tempo of 130 beats per minute. The transcription serves as a detailed guide for musicians to replicate the solo.

Uploaded by

simonpalcard
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Blue Train Composer: John Coltrane

Kenny Drew's Solo From Blue Train (1958)


Transcription: Simón Palacio
 = 130
             
        
Swing

     
3

 
   
         
            
   
                       
                 
3
   
 3

         
                        
        

3 3 3

   
                        
              

                                 
  

   

 
3

                               
3

      

                 
                 
3

     
   
                           
 
3 3


         
           
   
         
                      
     
3 3

2

                    
         
                
3 3 3

    

                    
  
          
         
3 

        
      
        

   
   3


  
                     
 

  3               
              
3


                    
 
          
6 3 3 6

                      
 
     
3
3

               
       

            
                
3

 
3

 
     
                            
3

3
     
               
3

     
               
  
3 


      
                 
          
       
3

  

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