Pivot – Peter Bernstein
A melodic medium swinger with a relaxed groove based on a bass vamp. Two recordings are available, with melody transcriptions.
- Recording: Peter Bernstein - Earth Tones
- Recorded on: December 14, 1997
- Label: Criss Cross Jazz (1151)
- Concert Key: No key center
- Style: Swing (medium)
- Guitar - Peter Bernstein
- Organ - Larry Goldings
- Drums - Bill Stewart
The foundation of this song is a bass vamp that "pivots" between two chords that can be described as a II-V. It's not a II-V in a tonal sense, though; the minor chord is really the tonic and the "V" chord (whose root is not played by the bass) is more of a color of this tonic. In A minor (as it is in the intro), the D7 colors the tonic like an Am6. F♯ (the third of D7) is approached by the bass alternately from above and below.
The A section is 16 measures, like a 16-measure blues with several twists. The "tonic" starts as A♭ minor (with the same vamp as the intro), with B minor as the "4 chord." A series of II-V7s on the ninth through twelfth measures lead back to the vamp on A minor for the last four measures. The B section of this AAB form is also 16 measures; it combines ascending and descending stepwise root motion with eight measures of 2-feel and 4 measures of 12/8 feel (with some hits) landing back at four measures of A minor vamp.
The melody soars over the vamp sections, with some sequences of phrases on the more harmonically active parts of the form. On this recording, the same II-V "pivot" is used on the solo changes with a 4-feel. The out melody consists of the B section, leading to the vamp alternating four measures on A minor and four measures on A♭ minor; this vamp fades out.
Our lead sheet reflects the other recording ("Secret Stash") more with regard to the solo changes and ending. Melody Transcriptions are available showing how Peter plays the in head on this "Earth Tones" recording; there's also a Melody Transcription for his version on "Secret Stash" (click on the next album cover).
Melody Transcriptions: note from Don Sickler: Going over Peter's original music with him has revealed some interesting insights I want to share with you. 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. I feel all songs have a basic melody, and that is the purpose of our lead sheet editions of Peter's compositions. Peter, however, doesn't feel his melodies should be frozen into only one musical interpretation. Interpretation is vital to Peter, so rather than confuse you by trying to show you different ways you can rhythmically explore his compositions in our lead sheet edition, we are often going to 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 Guitar melody transcriptions, type that phrase into the search box upper right.
The A section is 16 measures, like a 16-measure blues with several twists. The "tonic" starts as A♭ minor (with the same vamp as the intro), with B minor as the "4 chord." A series of II-V7s on the ninth through twelfth measures lead back to the vamp on A minor for the last four measures. The B section of this AAB form is also 16 measures; it combines ascending and descending stepwise root motion with eight measures of 2-feel and 4 measures of 12/8 feel (with some hits) landing back at four measures of A minor vamp.
The melody soars over the vamp sections, with some sequences of phrases on the more harmonically active parts of the form. On this recording, the same II-V "pivot" is used on the solo changes with a 4-feel. The out melody consists of the B section, leading to the vamp alternating four measures on A minor and four measures on A♭ minor; this vamp fades out.
Our lead sheet reflects the other recording ("Secret Stash") more with regard to the solo changes and ending. Melody Transcriptions are available showing how Peter plays the in head on this "Earth Tones" recording; there's also a Melody Transcription for his version on "Secret Stash" (click on the next album cover).
Melody Transcriptions: note from Don Sickler: Going over Peter's original music with him has revealed some interesting insights I want to share with you. 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. I feel all songs have a basic melody, and that is the purpose of our lead sheet editions of Peter's compositions. Peter, however, doesn't feel his melodies should be frozen into only one musical interpretation. Interpretation is vital to Peter, so rather than confuse you by trying to show you different ways you can rhythmically explore his compositions in our lead sheet edition, we are often going to 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 Guitar melody transcriptions, type that phrase into the search box upper right.
The trio of Peter Bernstein, Larry Goldings, and Bill Stewart have been playing together since the early ‘90s. They first recorded together on Larry’s debut album as a leader, "Intimacy Of The Blues," in 1991, which includes a version of Peter’s composition Jive Coffee.
Melody Transcription With its medium tempo and abundance of long notes, Peter Bernstein's Pivot doesn't just become a vehicle for his exquisite ability to ornament melodies, but a superlative showcase for the richness of his tone. Normally, the guitar, especially with a "clean" sound as is usually associated with a jazz context, is not associated with the ability to sustain notes for an extended period due to the fundamental nature of the instrument. Yet, in the hands of Bernstein,
the sound of the guitar becomes as vivacious and rich as that of a skilled horn player, with his held notes in the melody not just sustaining, but singing atop the lush accompaniment of Larry Goldings and Bill Stewart.
Our melody transcription includes not only Bernstein's notes and rhythms, but detailed articulation markings and time-feel indications that offer a glimpse into his vast musicality.
the sound of the guitar becomes as vivacious and rich as that of a skilled horn player, with his held notes in the melody not just sustaining, but singing atop the lush accompaniment of Larry Goldings and Bill Stewart.
Our melody transcription includes not only Bernstein's notes and rhythms, but detailed articulation markings and time-feel indications that offer a glimpse into his vast musicality.
- Recording: Steve Haines - Secret Stash
- Recorded on: April 30, 2016
- Label: Mahone Bay Music Co. (MBM0117)
- Concert Key: No key center
- Style: Swing (medium)
- Guitar - Peter Bernstein
- Piano - Thomas Linger
- Bass - Steve Haines
- Drums - Larry "Q" Draughn
This recent quartet version is considerably slower and more laid back. Our lead sheet reflects this recording more than the first version. In the solo section, the parts where the bass vamp is on the head use only the minor chords—for example, the first four measures of the solo form are all A♭m7. The out melody here is a single A section, going to the vamp on A minor and concluding with a "coda" with the first phrase of the melody leading to a final D♭7sus.
As with the other recording, there is a Melody Transcription showing Peter's interpretation of the in head.
Melody Transcription: 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. Peter, however, doesn't feel his melodies should be frozen into only one musical interpretation. Individual interpretation is vital to Peter, so rather than confuse you by trying to show different ways you can rhythmically explore his compositions in our lead sheet edition, we are often going to 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 Guitar Melody Transcriptions, type that phrase into the search box, upper right of every page.
As with the other recording, there is a Melody Transcription showing Peter's interpretation of the in head.
Melody Transcription: 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. Peter, however, doesn't feel his melodies should be frozen into only one musical interpretation. Individual interpretation is vital to Peter, so rather than confuse you by trying to show different ways you can rhythmically explore his compositions in our lead sheet edition, we are often going to 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 Guitar Melody Transcriptions, type that phrase into the search box, upper right of every page.
"Secret Stash" is Steve Haines’ third album as a leader. The North Carolina-based bassist’s second album, “Stickadiboom” from 2007, features veteran drummer Jimmy Cobb. Earlier in 2016, Peter Bernstein recorded "Let Loose," his first album released on the Smoke Sessions label.
Melody Transcription:Taken at a slower tempo than the version of The Pivot on "Earth Tones," this version of The Pivot from "Secret Stash" allows Peter Bernstein to embellish and dig into the time to an even greater degree than before.
Digging relentlessly into the pocket, Bernstein places notable emphasis on eighth and quarter note triplets in his interpretation, taking advantage of their malleability over the 4/4 swing to provide simultaneous forward motion and relaxation within the time. Bernstein also makes much more extensive use of double-stops during the B section, lending an almost Monk-ish, upright-piano quality to his sound.
Our melody transcription includes not only Bernstein's notes and rhythms, but detailed articulation markings that offer a glimpse into his mature and nuanced phrasing.
Digging relentlessly into the pocket, Bernstein places notable emphasis on eighth and quarter note triplets in his interpretation, taking advantage of their malleability over the 4/4 swing to provide simultaneous forward motion and relaxation within the time. Bernstein also makes much more extensive use of double-stops during the B section, lending an almost Monk-ish, upright-piano quality to his sound.
Our melody transcription includes not only Bernstein's notes and rhythms, but detailed articulation markings that offer a glimpse into his mature and nuanced phrasing.
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...