Full transcription with TAB.
https://www.dropbox.com/s/f0lpl99xtn3q5u7/Peter%20Bernstein%20-%20I%27m%20Getting%20Sentimental%20Over%20You.pdf
This transcription is from Peter Bernstein's solo guitar performance at the Small's Jazz Club on September 2nd 2013.
https://www.youtube.com/watch?v=pxIXXa2SKDo&feature=youtu.be
This was originally stream casted and archived on Small's Youtube channel. Peter played two sets in the evening and all songs were played stunningly beautiful. It is very rare to see Peter play solo guitar on Youtube and is a rare occasion for a jazz guitar learners to learn his ways of playing little chords between single note lines. I actually learnt a lot from this transcription. This article is an attempt to provide an analysis on Peters playing and hoping readers would gain his/her own ways to integrate these ideas in to their practice routines.
Let's get started.
Here's the first line. Peter started off an intro on E7 chord by using a simple E7 13th chord which root note on the 6th string is omitted.
Peter
decsends this simple scale consists of Root, b7, b5, b4, b9 down over 2
octaves. Then land on A note in the next bar which is the root of the
next chord Am6.
Let's see the next line.
A line on Am6 is simply a head.
A chord Peter uses on B7 is a quartal chord consists of F, Bb, Eb. The bass note is F which is b5th note of B7. I strugled a bit to get why this chord can be used here. What I understand now, is Eb (or D#) is the melody note, whatever underneath the Eb note is to support the melody note. Quartal chords has less color or function itself, which basically means if the top note is right it can be used almost at anywhere in anyways. The chord is supported by the F note, the b5th, usually works perfect as a bass note with any dominant 7th chords.
A small melody which follows the chord, B and D, is I think a breakdown of a diminish triad. On any altered dominant chords, diminish triad which the top notes are b9th, 3rd, 5th or b7th can be used automatically. Let me show you an example.
This shows few examples of how diminished triads can be used over E7 chords. Top notes are D (b7th), F (b9th), G# (3rd), B (5th). You can find inversions of diminished triad throughout the neck yourself, and should experiment on a different strings sets, but this is one of the most important comcepts Peter use throughout his playing. He often times approaches these diminished triads chromatically from half step above (or below).
The following small disonant movement on E7th is a combination of G# (3rd) and Bb (b5th), which Peter slides in from half step above. Sliding in half step, or even from far more distance is what Peter does a lot.
https://www.dropbox.com/s/f0lpl99xtn3q5u7/Peter%20Bernstein%20-%20I%27m%20Getting%20Sentimental%20Over%20You.pdf
This transcription is from Peter Bernstein's solo guitar performance at the Small's Jazz Club on September 2nd 2013.
https://www.youtube.com/watch?v=pxIXXa2SKDo&feature=youtu.be
This was originally stream casted and archived on Small's Youtube channel. Peter played two sets in the evening and all songs were played stunningly beautiful. It is very rare to see Peter play solo guitar on Youtube and is a rare occasion for a jazz guitar learners to learn his ways of playing little chords between single note lines. I actually learnt a lot from this transcription. This article is an attempt to provide an analysis on Peters playing and hoping readers would gain his/her own ways to integrate these ideas in to their practice routines.
Let's get started.
Here's the first line. Peter started off an intro on E7 chord by using a simple E7 13th chord which root note on the 6th string is omitted.
Let's see the next line.
A line on Am6 is simply a head.
A chord Peter uses on B7 is a quartal chord consists of F, Bb, Eb. The bass note is F which is b5th note of B7. I strugled a bit to get why this chord can be used here. What I understand now, is Eb (or D#) is the melody note, whatever underneath the Eb note is to support the melody note. Quartal chords has less color or function itself, which basically means if the top note is right it can be used almost at anywhere in anyways. The chord is supported by the F note, the b5th, usually works perfect as a bass note with any dominant 7th chords.
A small melody which follows the chord, B and D, is I think a breakdown of a diminish triad. On any altered dominant chords, diminish triad which the top notes are b9th, 3rd, 5th or b7th can be used automatically. Let me show you an example.
This shows few examples of how diminished triads can be used over E7 chords. Top notes are D (b7th), F (b9th), G# (3rd), B (5th). You can find inversions of diminished triad throughout the neck yourself, and should experiment on a different strings sets, but this is one of the most important comcepts Peter use throughout his playing. He often times approaches these diminished triads chromatically from half step above (or below).
The following small disonant movement on E7th is a combination of G# (3rd) and Bb (b5th), which Peter slides in from half step above. Sliding in half step, or even from far more distance is what Peter does a lot.
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