![]() Ï b Ï nÏ #Ï Ï n Ï # Ï Ï Ï Ï Ï n Ï # Ï Ï Ï Ï Ï Ï b Ï n Ï Ï. Jazznote offers the premier jazz solo transcription service at an affordable cost for educational purposes. The run from measure 18 to 25 serves as evidence, if not the solo as a whole.Who Can I Turn To - Peter Bernstein Harmonization As played on the 1997 Peter Bernstein album "Earth Tones" All too often as guitar players we fall into a pattern, Bernstein is clearly thinking tonally, musically, over physically. A relatively simple motif, Bernstein skips it around, not played as a pattern, but the tones played adjusted to imply specific harmonic information. ![]() ![]() The 16th note triplet motif that begins in measure 18 is another of the solo’s most memorable moments. Measures 42 – 45 are about as inside as he gets on the F7 passage, playing two bars of chord tones, and the 11, and a #9 that is resolved to a 3rd, before jumping into a passage of thirds marked by the flat 9 on the beat 1. He hovers around chord tunes for a couple bars and then hangs in the upper extensions of the chord. The dominant chord is almost always treated as altered, Bernstein loves the flat 9. There’s no hesitation.īars 9 through 12 of Monk’s “Played Twice” sit on an F7 chord, and each chorus is an adventure in Bernstein’s solo, how he lands there, or avoids the sense of weight and stagnancy by the lack of harmonic motion is brilliant. Clearly this tune, “Played Twice”, a difficult one, had been internalized prior to this recording. b F min7 b 9 A min7 j n b B/G 9 D A min7 n b & b 5 3 b 13. Its easy to get the beat turned around, with a strong emphasis on the 4 of measure 42. Who Can I Turn To - Peter Bernstein Harmonization As played on the 1997 Peter Bernstein album 'Earth Tones' & D maj7/A 4 4 D maj7 E min7 F 7(b 13). Measures 42 and 66 are both good examples of Bernstein marking the hits of the tune with the rhythm section. The rhythm section continues marking these throughout Bernstein’s solo, with Bernstein only at times joining with his phrasing, making for a solo that floats over the top of the tune. The tune’s structure, as dictated by the melody, is full of odd hits. The way he plays off the rhythm section, and the hit soy the tune throughout the 5 choruses or so he takes is brilliant. Its all feel and vibe here, something Bernstein always seems to exhibit whether playing original compositions and standards with the Goldings, Stewart organ trio or Monk tunes on this beautiful record, entitled “Monk”. ![]() It offers the tune a chance to catch its breath and honors its harmonic vibrancy before hitting the head out. Its not line after line, there is a story, a feel, and no rush to complete it.Ĭase in point, after the solo, Bernstein floats a kind of chordal chorus, harmony fragments, washing around with the drums and in between the bass. Bernstein’s dynamics make for incredibly lyrical phrases, again, even when harmonically dense. The large intervallic leaps, double stops, and the augmenting of his lines with chord fragments are all put to great use here, and offer something that is just incredibly musical to me. Monk tunes certainly offer plenty of harmonic content to color over, and Bernstein’s note choices, while also often typical of his playing, are never cliched nor lose their poignancy to repetition. He’s riding the tune as opposed to propelling it. He consistently lays back on the beat, not so much that he’s behind, but enough that there is a feel and groove to even the heaviest, most rapidly executed of lines he plays. This solo holds some trademark examples of guitarist Peter Bernstein’s style. Nothing takes precedence over feel, and its uniquely his own. Even with the wealth and density of harmonic and rhythmic concepts he employs, its all feel. Peter Bernstein plays jazz guitar the way I love to hear it played. You also need to have JavaScript enabled in your browser.ĭownload the PDF: Concert, Bb, Eb, Bass Clef Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip.
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