Note that while the performing artist may be perfectly willing to grant permission, s/he may have ceded the ability to provide such a grant as part of a contractual arrangement with the publisher or recording company-or may be otherwise unable to declare ownership of the solo, given its apparent derivative nature from the composed tune on which it was performed. In such cases the author must provide not only the preceding Track, Album, and Copyright Notice information but also seek, receive, and forward to ITA the expressed, written permission of the current owner(s) of print rights of the tune recorded (if a newly created transcription) or of the current publisher(s) of the work (if the transcription has already appeared in print elsewhere). Solo transcriptions of up to the above maximum length which represent not so much excerpts as closer to the solo's recorded entirety (due to the brevity of the recorded solo)-and solo transcriptions of longer than the above maximum length-are likely not to fall within ITA's interpretation of the Guidelines for Fair Use. The article is also available as a PDF download at. Comes complete with booklet of the solos. Or, for an example of aspects you can explore and notate in a transcribed solo without even getting near copyright issues, check out the article “Transcribing Jazz Solos without Pitches” by yours truly in Jazz Improv, Vol. A wonderful collection of transcribed solos of popular standards as performed by trumpet great, Wynton Marsalis. Get on it, and be specific to the second! With transcriptions of only a bar or two here or there, copyright permission won’t even be needed. I would like to hear from the great ears in our jazz artist/educator/student world. This could be a frequent Journal occurrence, with qualified authors explaining how the most important recordings influenced them. Analyze what makes a great performance great and detail it via the CD cut’s timing, providing very short transcriptions of musical examples as needed.

For example, take an absolutely essential CD recording of an important jazz trombonist and point out where we should listen to and apply illustrated techniques.

There are so many unexplored territories for a Journal such as ours. “How-To” articles of virtually every kind.

Wynton marsalis transcriptions pdf