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Harder Bop
Simon Purcell
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.
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.
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 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.
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