Let Loose – Peter Bernstein
A melodic medium swinger with a complex form that combines pedal points and vamps with more active harmony. Melody transcriptions are available for both studio and live recordings.
- Recording: Peter Bernstein - Signs LIVE!
- Recorded on: January 4, 2015
- Label: Smoke Sessions (SSR 1705)
- Concert Key: C minor
- Style: Swing (medium)
- Guitar - Peter Bernstein
- Piano - Brad Mehldau
- Bass - Christian McBride
- Drums - Gregory Hutchinson
Let Loose opens with another great Bernstein-conducted chordal introduction. This time it's the set up for the infectious four-measure rhythm section groove pattern which continues under the A and C sections of the melody. Peter feels it's very important for every melody player to see the entire Piano and Bass part while feeling their way into their own interpretation of the melody. For this reason we've included those parts on a smaller grand staff under the melody.
This live version is the first recording of this song. There are a few minor differences in the arrangement, but the tempo is almost the same as in the later studio version (click the Let Loose album cover above right). After the rubato intro, the bass sets up the vamp alone for eight measures before the piano and drums come in. Our clip starts at the guitar pick up to the melody. The 12/8 feel of the B section on the head is more obviously Latin, though without a specific bass line. The solo form is slightly different, with an extra eight measures of the vamp (as at letter D of the head) concluding each solo before the next soloist takes over. At the end, the coda from the studio version is not played; instead, the last four measures of the E section ritard into the the last two notes, which set up a guitar cadenza and final Cm(maj7).
Our three-page lead sheets all show the piano and bass figures for the A section vamp written under the upper melody staff. These all appear in concert key, even on the B♭ and E♭ lead sheets. The lead sheets convey the essentials for the composition, while the Melody Transcriptions for each recording reveal Peter's interpretations. The lead sheets under each album cover are identical.
This live version is the first recording of this song. There are a few minor differences in the arrangement, but the tempo is almost the same as in the later studio version (click the Let Loose album cover above right). After the rubato intro, the bass sets up the vamp alone for eight measures before the piano and drums come in. Our clip starts at the guitar pick up to the melody. The 12/8 feel of the B section on the head is more obviously Latin, though without a specific bass line. The solo form is slightly different, with an extra eight measures of the vamp (as at letter D of the head) concluding each solo before the next soloist takes over. At the end, the coda from the studio version is not played; instead, the last four measures of the E section ritard into the the last two notes, which set up a guitar cadenza and final Cm(maj7).
Our three-page lead sheets all show the piano and bass figures for the A section vamp written under the upper melody staff. These all appear in concert key, even on the B♭ and E♭ lead sheets. The lead sheets convey the essentials for the composition, while the Melody Transcriptions for each recording reveal Peter's interpretations. The lead sheets under each album cover are identical.
Though this album was recorded almost exactly a year before the album "Let Loose", it was released a year after that album. The title refers to the personnel being the same as Peter's second album as a leader, "Signs Of Life" from 1994. "Signs Live" contains nine Bernstein originals, all but one of which also appear on studio recordings. Click on the album link to investigate.
Melody Transcription: As often happens on live recordings, Peter phrases the melody more loosely than in the studio version. This is shown clearly in our Melody Transcription. He again begins the first A section with a longer pickup, and continues the melody nearly as written until the B section. The E section on the in head is especially different from the studio recording; he slides between some of the notes and plays the D♯ in the fifth measure an octave higher like it is in the coda.
To see other compositions with Guitar Melody Transcriptions, type guitar melody transcriptions in the search box, top right.
note from Don Sickler: Going over Peter's original music with him has revealed some interesting insights I want to share. First of all, aside from his mastery of the guitar, Peter is also completely at home at the piano, and he first goes over his compositions with me at the piano. Most of his compositions contain a freedom of expression that I feel is very important to convey. All songs have a basic melody, and that is the purpose of our lead sheet editions of Peter's compositions. However, Peter doesn't feel his melodies should be frozen into only one musical interpretation.
Improvisation/interpretation is vital to Peter, so we'll often let you explore, through our Melody Transcription editions, how Peter took liberties on that day, on that specific recording. Examining his Melody Transcription interpretations will open new avenues of thought to you as you explore his wonderful melodies.
Click here to get more details on what's behind Don Sickler's notation methods.
To see other compositions with Guitar Melody Transcriptions, type guitar melody transcriptions in the search box, top right.
note from Don Sickler: Going over Peter's original music with him has revealed some interesting insights I want to share. First of all, aside from his mastery of the guitar, Peter is also completely at home at the piano, and he first goes over his compositions with me at the piano. Most of his compositions contain a freedom of expression that I feel is very important to convey. All songs have a basic melody, and that is the purpose of our lead sheet editions of Peter's compositions. However, Peter doesn't feel his melodies should be frozen into only one musical interpretation.
Improvisation/interpretation is vital to Peter, so we'll often let you explore, through our Melody Transcription editions, how Peter took liberties on that day, on that specific recording. Examining his Melody Transcription interpretations will open new avenues of thought to you as you explore his wonderful melodies.
Click here to get more details on what's behind Don Sickler's notation methods.
- Recording: Peter Bernstein - Let Loose
- Recorded on: January 3, 2016
- Label: Smoke Sessions (SSR 1604)
- Concert Key: C minor
- Style: Swing (medium)
- Guitar - Peter Bernstein
- Piano - Gerald Clayton
- Bass - Doug Weiss
- Drums - Bill Stewart
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Based on a a rhythm section vamp, this song grooves at a medium-slow tempo. The tempo is marked "Medium groove" because, though it swings throughout, this song never goes to 4-feel swing. The bass line vamp (where our clip starts) goes along with four-note piano voicings which are indicated on the lead sheet. Over this, a bluesy melody forms the A sections. The bridge goes to a loose 12/8 feel, with the melody shifting from C to Eb minor. Then there is a C section in 3/4, six measures of D pedal going to four measures of two chords per measure leading back to C minor. The D section is the same as the A section; this is followed by an E section starting with ascending sus chords in dotted quarter notes—implying 3/4 but it's still in 4/4. This E section is also used, rubato, as an intro.
Not all of the 50-measure head is used for the solos. The solo form begins with the A section vamp; on cue, the soloist plays the B and C sections going back to the vamp for the next soloist. The out head uses the same form as the in head.
Our three-page lead sheets all show the piano and bass figures for the A section vamp written under the upper melody staff. These appear in concert key, even on the B♭ and E♭ lead sheets. The lead sheets convey the essentials for the composition, while the Melody Transcriptions for each recording reveal Peter's interpretations. The lead sheets under each album cover are identical.
Not all of the 50-measure head is used for the solos. The solo form begins with the A section vamp; on cue, the soloist plays the B and C sections going back to the vamp for the next soloist. The out head uses the same form as the in head.
Our three-page lead sheets all show the piano and bass figures for the A section vamp written under the upper melody staff. These appear in concert key, even on the B♭ and E♭ lead sheets. The lead sheets convey the essentials for the composition, while the Melody Transcriptions for each recording reveal Peter's interpretations. The lead sheets under each album cover are identical.
"Let Loose" is Peter's first recording with Gerald Clayton. This lineup minus Clayton also recorded an album of Thelonious Monk songs in 2008. Peter has played on three other Smoke Sessions albums: Jimmy Cobb's "The Original Mob" in February 2014, and one song each on Harold Mabern's "Afro Blue" (August 2014) and George Coleman's "The Master Speaks" (November 2015).
Melody Transcription: A Melody Transcription is available for this recording, showing Peter's distinctive phrasing and embellishments for both the in and out heads. Peter does not play the beginnings of the A1 and D section melodies the same way as they are written in the lead sheets. In the first A section he plays a longer pickup but arrives at the last note of the phrase, C, in the same place that it is in the notated melody; he then repeats the phrase as written in the second A section. The long high G at the beginning of the D section is replaced by solo fills. Peter voices the last four measures of the C section in thirds.
To see other compositions with Guitar Melody Transcriptions, type guitar melody transcriptions in the search box, top right, or go to the Guitar Corner (under FEATURES).
note from Don Sickler: Going over Peter's original music with him has revealed some interesting insights I want to share. First of all, aside from his mastery of the guitar, Peter is also completely at home at the piano, and he first goes over his compositions with me at the piano. Most of his compositions contain a freedom of expression that I feel is very important to convey. All songs have a basic melody, and that is the purpose of our lead sheet editions of Peter's compositions. However, Peter doesn't feel his melodies should be frozen into only one musical interpretation. Improvisation/interpretation is vital to Peter, so we'll often let you explore, through our Melody Transcription editions, how Peter took liberties on that day, on that specific recording. Examining his Melody Transcription interpretations will open new avenues of thought to you as you explore his wonderful melodies.
Click here to get more details on what's behind Don Sickler's notation methods.
To see other compositions with Guitar Melody Transcriptions, type guitar melody transcriptions in the search box, top right, or go to the Guitar Corner (under FEATURES).
note from Don Sickler: Going over Peter's original music with him has revealed some interesting insights I want to share. First of all, aside from his mastery of the guitar, Peter is also completely at home at the piano, and he first goes over his compositions with me at the piano. Most of his compositions contain a freedom of expression that I feel is very important to convey. All songs have a basic melody, and that is the purpose of our lead sheet editions of Peter's compositions. However, Peter doesn't feel his melodies should be frozen into only one musical interpretation. Improvisation/interpretation is vital to Peter, so we'll often let you explore, through our Melody Transcription editions, how Peter took liberties on that day, on that specific recording. Examining his Melody Transcription interpretations will open new avenues of thought to you as you explore his wonderful melodies.
Click here to get more details on what's behind Don Sickler's notation methods.
Peter Bernstein
born on September 3, 1967
Jazz guitarist Peter Bernstein has been a part of the jazz scene in New York and abroad since 1989. During that time he has participated in over 80 recordings and numerous festival, concert and club performances with musicians from all generations. Read more...