Solo Transcriptions

Who Can I Turn To – Peter Bernstein Transcription

Hello again.  I’ve been really interested in solo guitar lately.  Since starting my regular solo piano gig, I’m very interested in how different players play standards in a solo context, especially guitarists.  I think the limitations of the instrument lead to some really unique ways of expressing harmony.  So here’s a few of the things that drew me to this recording.

First, the walkup in bars 5-6 and 21-22.  Functionally, this is all just trying to get you to IV in measure 8.  A typical walkup would be something like:  I IMaj7 iimin7 I iiimin7 IVMaj7 I vmin7 I bVII7 I IVMaj7I.  In DMaj, this is: I DMaj7 Emin7 I F#min7 GMaj7 I Amin7 I D7 I GMaj7I.  So, between the DMaj7 and the Amin7, you’re just walking up the scale degrees of DMaj using seventh chords diatonic to the key.  A lot of the time, with this tune, people replace the GMaj7 with a ii-V leading you to Amin7 – so you end up with  I DMaj7 Emin7 I F#min7 Bmin7 E7 I Amin7 I D7 I GMaj7I – which also works because you end up with a iii-VI-ii-V in GMaj, and the harmony fits the melody (very important).  However, Bernstein follows the F#min7 with Abmin7, and it’s funny how much difference just one chord can make when it’s counter to expectations.  By replacing the IVMaj7 with bVmin7, the walkup becomes  I IMaj7 iimin7 I iiimin7 bVmin7 I vmin7 I and you end up with a neat half step approach to the vmin7 chord.

Secondly, the progression from bar 8 into 9 and 24 into 25.  Instead of a traditional ii-V to VIMaj7 (Amin7 to D7 to GMaj7), Bernstein inserts not only the tritone of V7 (Ab7), but its iimin7 as well (Ebmin7).  And instead of using the tritone as a substitution to the original changes, he uses it in addition to the existing ii-V, so the entire progression turns from what would be Amin7-D7-GMaj7 into Amin7-D7-Ebmin7-Ab7-GMaj7.  Plus, the little sideslip to Bb7 (tritone sub for E7, V7 of Amin) before the Amin7 adds just a little more root movement into the mix to keep things interesting.

Nextly (not a word, but I like it), Bernstein’s use of triads in measure 9-10.  The progression at this point is GMaj7 to Db7, but by treating the GMaj7 as GMaj7(#5) and the Db7 as Db13(b9), the triads at the top of the chords end up being B/G to Bb/Db, giving a really satisfying half step resolution on top.

Lastly, measure 17.  I wrote the chord symbol as G#dim7, since there’s a G# in the bass, but I think a better way of thinking about this chord would be as Ddim7.  Although Bernstein doesn’t resolve it to DMaj7, this is a nice technique for creating some additional harmonic motion where there typically wouldn’t be.  By treating a IMaj7 as Idim7->IMaj7, a chord that would normally be a resting point has some added movement to it.  Plus, not to get too technical, but the way Bernstein voices the chord suggests G#WH diminished, and that scale contains C#dim7, which is a sub for A7(b9), so you can think of it as a V7->IMaj7, if you really want to overthink it.  And isn’t that what jazz theory is all about?  I think the substitution works well here because, even though meas 17 is typically a cadence point, resting on IMaj7, it’s halfway through the form of the tune, so even though it’s a resting point, there’s still that forward movement to the end of the tune.  But enough overthinking.

About the transcription – I tried to make it guitar friendly, so everything’s written 8VA, to fit in treble clef.  Also, rather than trying to be rhythmically accurate to what Bernstein was playing, which is difficult with a rubato treatment, I tried to be metrically accurate to the form of the tune, so some things may be stretched or compressed from how Bernstein played them so they would fit into the 32 bar form, since I was interested in looking at how what Bernstein played compares to the “typical” harmony, if you can say there is such a thing.  And I left off his intro and started at the top of the form which is about 18 seconds in.  That all being said, enjoy!

Ceora – Peter Bernstein Solo Transcription

Hello again.  Below is a transcription of Peter Bernstein’s guitar solo on the Lee Morgan tune “Ceora” as played on Ryan Kisor’s 2003 album The Sidewinder.  I just love Peter Bernstein’s sound – warm, melodic, lyrical – and this solo is no exception.  Things to listen for: Bernstein’s use of the melody throughout his solo.  Also, listen for Bernstein’s use of triads in his improvisation to create Altered Dominant sounds.  The thing I really like about the way Bernstein uses triads is that the harmony remains open.  For example, in measure 12, the D/F7 could imply an Fdim7 sound, an F13(b9) sound, or a DMajor sound; but by just playing the D major triad over the underlying harmony, Bernstein leaves it harmonically open.  And check out measures 12-16.  Bernstein uses this same sound over each of the dominant chords (D/F7, E/G7, C/Eb7), but plays over it a little differently each time.  In the hands of a lesser improviser, this could easily sound like a technical exercise or someone running licks, but by making little changes each time, the result is very interesting.  Also check out the sound Bernstein uses in measure 20 – also a triad over a dominant chord to create an Altered Dominant sound, but this time a triad off the #4/b5 to create a (b9#11) sound.

Given Bernstein’s usage of the melody and his interesting use of triads to create altered dominant sounds, it brings to mind Kenny Barron’s solo on I Should Care, which uses many of the same devices.  If you enjoy this solo, check out Barron’s solo as well.  Bernstein’s solo starts at 2:08.  Enjoy!

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Freddie Hubbard – Birdlike solo transcription

Below is a transcription of Freddie Hubbard’s trumpet solo on “Birdlike” as played on the 1961 Freddie Hubbard album “Ready For Freddie.”  Brian Lynch was talking about this solo at a masterclass a few weeks back, particularly about the value of taking the 2nd chorus through all 12 keys since it’s got so much language in it, so I thought I’d rip the solo.  I was struck by how often Freddie uses natural sevenths over dominant seventh chords – lots of E naturals on F7’s and A naturals on Bb7’s.  Enjoy!

The solo is also available in Bb here.

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Au Privave – Jimmy Smith Organ Solo Transcription

Below is a transcription of Jimmy Smith’s 13-chorus organ solo on the Charlie Parker F blues tune “Au Privave”. As played on the 1958 Jimmy Smith album “House Party.”  Solo starts about 0:44 into the track.  There is hardly a 3rd that is un-grace noted.  Super funky.

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The Champ – Joey DeFrancesco Organ Solo Transcription

Christmas break!  Finally getting some time to post some more stuff.  Below is a transcription of Joey DeFrancesco’s organ solo on the F blues tune “The Champ” as played on the 1999 Joey DeFrancesco album “Incredible.”  All 30 choruses.  Enjoy!

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Fuchsia – Branford Marsalis, Kenny Kirkland, Wynton Marsalis Solo Transcriptions

Below is a transcription of Branford Marsalis, Kenny Kirkland and Wynton Marsalis’s solos on the Kenny Kirkland tune “Fuchsia” from the 1983 Wynton Marsalis album “Think Of One.”

PDF available on Box for download.

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Tonality of Atonement – Lead Sheet and Kenny Kirkland solo transcription

Below is a lead sheet for the Kenny Kirkland original “Tonality of Atonement” and transcription of Kirkland’s solo as played on the 1991 Charles Fambrough album “The Proper Angle”.  I was not able to find a recording online, but it’s worth purchasing for this track alone.

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Tonality of Atonement – Kenny Kirkland piano solo transcription

Long time no posting – been busy with school.  To make up for it, here’s a transcription of Kenny Kirkland’s piano solo on his original tune “Tonality of Atonement” as played at the 1991 Festival Jazz de Vitoria-Gasteiz with the David Sanborn Group.  His solo starts at about 22:10.  Enjoy!

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Tones For Joan’s Bones – Chick Corea Piano Solo Transcription 3

Below is a transcription of Chick Corea’s piano solo on “Tones For Joan’s Bones” as played on the 1995 Christian McBride album “Number Two Express”.  I like the way Chick freely interpreted the melody on this track, so I included that as well.  There should be an analysis of the three solos to follow.

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