Page dedicated to the art of improvisation including posts on transcriptions, links to websites dealing with improvisation, improvisational concepts, etc.
Here is a second transcription of another Jerry Bergonzi's solo on "Long Ago and Far Away" (Ira Gershwin/Jerome Kern). This one was recorded live in Montreal in July 1980.
It is great to compare this to Jerry's solo on "Paper Moon". It is clearly Jerry's language, but he never repeats himself.
This handwritten transcription will have to do for now until I manage to put it in Finale.
Here is my transcription of Jerry Bergonzi's solo on "Long Ago and Far Away" (Ira Gershwin/Jerome Kern) from Dave Brubeck's album "Paper Moon". The album was recorded four decades ago, in September 1981 at Coast Recorders, San Francisco, CA.
I had transcribed this years ago, but had misplaced some of the manuscript. To honor the 40th anniversary of this great solo I decided to put it in Finale.
Brubeck plays some dominant function diminished chords in some sections, but I decided to not add them. There's such clarity in Bergonzi's lines that the harmony could be anything and the solo would still sound great.
Click for Transcription (concert & Bb)
Originally posted on "All Things Vibraphone" & "All Things Improvisation" on November 2016. This was one of many things by Ed that I've had in the back burner for a long time. There are so many great things about this clip. To me it is just stunning.
On the one hand the improv techniques are just so clearly executed, and with so much ease over this challenging progression. On the other hand, this is particularly a great lesson for vibes players. I remember that during the time Ed made this clip, he was focusing on incorporating all four mallets in linear playing, as well as working on particular nuances of the "Fulcrum Grip"; such as switching between fulcrums and having more control over certain fulcrums. All of that is clearly evident in this clip.
Additionally this is a study in phrasing, time, time fell, touch and dynamics. Yes, the dynamic range and level of nuance within a line is just amazing. That is the reason I find Ed so difficult to transcribe. There are always notes in a line that no matter how hard you try to listen they are almost inaudible, as if they were "implied".
Of course, this clip by no means represents Ed's playing in its entirety. It is a fast tempo, so there is little to no dampening, instead, it is a great chance to focus on his "pedaling".
So I decided to edit Ed's original clip, which he recorded off the cuff with the phone, and zoom into the "hands and feet". I think this is a good way to observe how relaxed his upper body is, and how loose, fluid and both delicate and powerful the grip is, in spite of stemming from such minimal motion. Economy of movement at its best.
The other important aspect to notice is how evenly Ed is standing on both feet; controlling the pedal with just the toes. The pedal is not swiveling from side to side, or "fluttering" (what's that??), or being bashed against the floor, or used for time keeping. It is simply being applied when it is musically needed. In fact, you will notice that it barely moves, and when it does, it is just to target specific notes, or group of notes.
Here is the Transcription: