Lennie Tristano Transcriptions Pdf Files
Chances are you're here for some Lennie Tristano transcriptions, and I have them here for you. As part of my Masters thesis I transcribed nearly all of Tristano's solos over the chords to All Of Me. Tristano recorded this set of chords as several different names - Background Music is a melody written for.
LENNIE TRISTANO- “LINE UP” SOLO TRANSCRIPTION To say that Lennie Tristano was a uniquely talented musician is to some, stating the obvious. But perhaps it isn’t. His isn’t exactly a household name, even among musicians. And many who do know of him are only familiar with his extra-musical reputation as an enigmatic and reclusive person. His influence on a wide range of musicians, even if unacknowledged, is quite strong. Not only was he an educator with an ever-growing following of talented musicians, most notably, Lee Konitz and Warne Marsh, he ran his own record label (he was one of the first musicians to do so) and was a pioneer in the application of tape splicing, multi-tracking and other editing techniques (gasp! Download Film Mahabharata Bahasa Indonesia Episode 1. ). He was also a forward thinking conceptualist, no doubt planting a few of the seeds that gave birth to the free jazz phenomenon, and of course he was flat out an amazing improviser as evinced by the transcription below.
“Line Up” is 32 bar progression based on the chord progression to “All Of Me”. The song is off of a recording called which is part of a twofer CD with. “Line Up” is comprised of 7 choruses of some really personal and inventive melodic lines. Tristano doesn’t play an opening melody; after resting for 8 bars, letting the rhythm section do its thing (the rhythm track was pre-recorded; rumor has it that Tristano’s lines were recorded at half speed. The piano sound has been altered, nevertheless) he dives headlong into his improvisation. What strikes me most strongly about this solo, aside from his extraordinary technique and clean articulation, is his wide of use rhythmically displaced phrases. For example, in the 9th and 10th bars of his solo, he plays a simple melodic figure.
He then repeats the figure, up a diatonic 4th, but instead of starting it on the 1st beat of the 11th measure as one would expect, he begins it on the 4th beat of the 10th measure. This device creates in the listener a curious, off-balance feeling. He’ll also accent his line on the downbeats from time to time, like he’s tamping the brakes on a car; it works to dissipate some of the forward energy of his line that at times, threatens to spin out of control. Secrets Amazing Kreskin Pdf Free. Tristano is always, however, able to resolve the rhythmic aspect of his line in sophisticated and unusual ways.
Nowadays, these improvisational devices are more or less meat and potatoes but back in 1955, it was quite innovative and unusual. Throughout his solo, he plays with a really propulsive, aggressive swing and his line is shaped rhythmically by using a wide variety of syncopated accents. He sounds as if he’s working at a piece of hot metal with a mallet, hammering his line into shape. He also uses a device of playing a melodic shape a half step above the underlying harmony and then shifting it back into key. For the most part Tristano’s solo is built around 8th note runs but every so often, he’ll turn on a really crispy triplet figure or jab you in the ear with a fat chord cluster.