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Peter Bernstein On Little Green Men (Fe b ru a ry 1 5 , 2 0 1 1 )
Po s te d i n Tra n s cri p ti o n Exce rp ts
Soloist: Peter Bernstein
Tune: Little Green Men (C Minor Blues with modified last four bars)
Album: Peter Bernstein Hearts Content
Excerpt from: Two bar solo break (0:39)
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All the notes in this line are found in the C Altered Scale (Db melodic minor). Ive had trouble placing the
harmonic function of this line as the first chord after the solo break is a Cminor and C Altered almost always
pulls to F. Regardless, the line is ear catching and demonstrates one of Peter Bernsteins signature
characteristics: balancing angular intervals found in modern jazz with the traditional, blues lick that is used to
cap-off this solo break.
Warne Marsh On You Stepped Out Of A Dream (Fe b ru a ry 9 , 2 0 1 1 )
Po s te d i n R h yth m i c Id e a s , Tra n s cri p ti o n Exce rp ts
Soloist: Warne Marsh
Tune: You Stepped out of a Dream
Album: Private Recording Marsh and Red Mitchell in Stockholm (April 1980)
Excerpt from: Last four bars of the first half (0:13)
This excerpt presents accenting groups of three in an eight-note line. The polyrhythm starts on the third beat of
the second bar. The use of odd-group accenting is typical of the Tristano school.
Sonny Stitt On Sonnys Tune (Fe b ru a ry 9 , 2 0 1 1 )
Po s te d i n Tra n s cri p ti o n Exce rp ts
Soloist: Sonny Stitt
Tune: Sonnys Tune (Blues in C)
Album: Sonny Stitt New York Jazz
Excerpt from: First five bars of the form (2:13)
This excerpt presents the saxophonist Sonny Stitt outlining a set of substitute triads on the first four bars of a
blues in C. Stitt transitions from the triads smoothly into a traditional bebop idea over C7.
Herbie Hancock On Fee Fi Fo Fum (Fe b ru a ry 8 , 2 0 1 1 )
Po s te d i n R h yth m i c Id e a s , Tra n s cri p ti o n Exce rp ts
Soloist: Herbie Hancock
Tune: Fee Fi Fo Fum
Album: Wayne Shorter Speak No Evil
Excerpt from: Last two bars of the form (4:44)
Herbie ends his chorus on Shorters Fee Fi Fo Fum with this memorable triplet polyrhythm that is derived from
rhythmic groups of four. in B Lydian. The melodic content is triad arpeggios from B Lydian with an ascending
root motion (F# major, G# minor, A# minor, B major, C# major). The polyrhythmic effect is further enhanced by
Herbies left hand voicings (not notated), which he plays at the beginning of each new triad.
Lee Konitz On Out Of Nowhere (Fe b ru a ry 8 , 2 0 1 1 )
Po s te d i n Tra n s cri p ti o n Exce rp ts
Soloist: Lee Konitz
Tune: 317 East 32nd St (Out of Nowhere changes)
Album: Lennie Tristano Live At The Confucius Restaurant 1955
Excerpt from: First four bars of the tune (5:08)
Lees line demonstrates surrounding chord tones with neighbor notes and chromatic approaches, a typical
bebop device. Note the chromatic line Lee plays on the third measure, and how he smoothly shifts from the Eb7
chord back to Gmaj7 by surrounding the note D. While all of the devices Lee utilizes in this excerpt are
common in the bebop melodic vocabulary, the step-wise motion balanced with surprising leaps helps keep the
listener intrigued and demonstrates his mastery of the vernacular.
Tim
Fis cher 2010
