Metamorphosis – Peter Bernstein

The stop and go start of this melody's A section, going directly into melodic triplets, starts a new path of discovery. Peter's intro sets up the melody with eight conducted, constantly moving chords. The drums starts "time" under the ninth chord, setting up the first melody note, by itself, stopping everything.

This melodic medium swinger has a more obvious key center than some other Peter Bernstein songs. The structure of the 16-measure A sections is reminiscent of Gigi Gryce's Minority in D minor, with descending II-V7s starting on the seventh measure. These are broken up by a turnaround in the last two measures of the section with minor seventh chords ascending in whole steps. The bridge, also 16 measures, contains mostly dominant chords that often descend in half steps. The C section has an eight-measure tag that continues the rising stepwise minor chords in an extended sort of turnaround. Tritone and other substitutions appear frequently in the changes; the first four chords are Dm6, B♭m7, E♭7, back to Dm6. An unusual substitution (or modulation) appears at the end of the bridge: a shift from D to G♭ major and back. This major third relationship is in the opposite direction of the "Tadd Dameron" turnaround that would go to B♭ major.

The almost standard-like melody is broken up by a stop-time hit in the first measure, and then rises dramatically in the second measure in quarter-note triplets. The same pattern happens on the fifth and sixth measures. These triplets are harmonized, on this recording by the organ; the harmonies are indicated in our Condensed Score an octave higher. The solo form is 64-measure AABA, without the eight-measure tag that concludes both the in and out heads. There is a brief rubato intro, a rising and falling series of chords with the drums setting up the tempo on the last one. On this recording the bridge is played with a loose 2-feel.

Melody Transcription: Our Melody Transcription shows how Peter interprets his melody. Some of the rhythms in the bridge are deliberately loose, written over the bar line in the lead sheet; Peter plays them a few different ways. The out head, which is the bridge and C section with the tag, is also included. 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. 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.

Metamorphosis was recorded again in 2008 by drummer Kendrick Scott on his debut album, "Reverence." This quintet version (tenor sax, guitar, piano, bass, drums) is slightly different from both Bernstein recordings. The harmonies on the second and sixth measures of the A sections are not played; the guitar and tenor sax only harmonize at the end of the second A section and on the last chord. The bridge is played with a 4-feel for the first ten measures, with the last six having a loose sort of 1-feel.

Melody Transcription: On this first recording of Metamorphosis, done alongside his already long-standing bandmates of organist Larry Goldings and drummer Bill Stewart, Peter Bernstein flexes his rock-solid time-feel, finding ways to creatively pull and push his melody while remaining deep in the pocket. In order to capture such subtleties, our transcription includes detailed notation regarding when to stretch the time on specific phrases. Additionally, our melody transcription includes the out melody, allowing musicians to see how differently Bernstein is able to interpret a melody even within a single performance.

Please note that this transcription sounds as written, not an octave below.