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Dick Sisto's Interpretation of "Everytime We Say Goodbye."

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Dick Sisto's Interpretation of Sound Enhanced Hear the recording of the transcribed solo in this article in MP3 format at the Members Only section of the PAS Web site at www.pas.org Dick Sisto’s Interpretation of “Everytime We Say Goodbye.” TRANSCRIBED BY JOHN WILMARTH f you haven’t heard jazz vibraphonist understanding of this solo. He generally conjunction with learning the written Dick Sisto, you’re in for a pleasant plays with a smooth and connected, part. So check it out in the Members Isurprise. His playing style combines legato phrasing. Sisto’s rhythmic feel is Only section of the PAS Web site at the four-mallet innovations and harmonic difficult to transfer into standard nota- www.pas.org. sophistication of Gary Burton with the tion. He often pulls and pushes the time For information on Dick Sisto’s record- bluesy soulfulness and bebop vocabulary within a phrase much like a singer would ings, visit www.dicksisto.com. of Milt Jackson. interpret a melody. This is best under- Sisto, however, cites Ahmad Jamal, stood through listening to and imitating John Wilmarth is an active performer and Bill Evans, and Miles Davis as his great- the recording. educator who is pursuing a master’s de- est influences. These players’ lyricism, Dynamic contrasts give his playing gree in percussion performance at the phrasing, and use of space greatly af- more depth, suggesting counter-melodies University of Iowa under the direction of fected him. But perhaps the greatest im- within a linear, or two-mallet, context. Dan Moore, and who is a teaching assis- pact these players had on Sisto was to Performers should exaggerate the dy- tant for the UI Jazz Studies program. He inspire him to discover his own unique namic markings to create the desired ef- earned a bachelor’s degree in Music Edu- voice on the instrument. He brings a fect. Sisto effectively uses the entire cation from the University of Kentucky, sound and style to the vibes that is fresh range of the instrument. The upper oc- where he studied with James Campbell. and original. tave is used both to convey a light, deli- PN In 1995, Sisto released a CD titled cate feel (a la Ahmad Jamal) at the American Love Song, on which he is beginning of the solo as well as during backed by Fred Hersch on piano, Drew the emotional peak or climax of the solo. Gress on bass, and Tom Rainey on Once the notes are learned, the per- drums. The following transcription is former should devote considerable time from the Cole Porter composition to shaping the phrases and playing every “Everytime We Say Goodbye” and in- note with feeling. The solo is extremely cludes Sisto’s interpretation of the lyrical, and the real difficulty lies in its melody and his solo. musical interpretation. As with any tran- Several aspects of Sisto’s playing are scription, it is most beneficial for the per- worthy of mention in order to enhance an former to hear the original work in PERCUSSIVE NOTES 40 APRIL 2001 b # b E Maj7 A7( 11) A Maj7 Db7(#11) G7(#5) C7(#9) swing 8ths straight 8ths > > b j 3 3 3 & b b c Ó. œ. œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ bœœ œ œ œnœ œ œnœ œ F b Fm7 Gm7 AbMaj7 Bb7 G7(#5) C7(b9) Fm7 Bb7 E Maj7 b j 3 3 & b b œ œ ˙ #˙˙ ˙ œ . œ œ œ œ œ œ œ ˙˙ n ˙ ˙ nœœ. œ œ P ˙ œ . F œ subito p Abm7 Bb7(#11) Gm7(#5) Gbdim Fm7 Bb7 Bbm7 Eb7 3 3 straight 8ths 3 b j œ œ œ œœ œ j j b j nœ ‰ bœ œ œ œ œ Œ œ œ œ bœœ n œ œ bœ & b # œ bœ œ œ œ œ F E AbMaj7 Abm7 Db7 b b Bm7 E7 > E E Maj7 > 3 bbb 3 3 nœbœnœ. œ nœ bœ ˙œ œ ‰ & œ œ œ œ œ J œ bœ œœ œ œ π œ œ œ. # b Fm7 Bb7 EbMaj7 A7( 11) A Maj7 Db7(#11) Gm7(#5) C7(b9) straight 8ths 3 > > > b 3 3 3 j j j b j j j j œ & b œ œ # œ œ # œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ. œ p F p F b # b b b Fm7 B 7 G7( 5) C7(>9) Fm7 B 7 E Maj7 > > > 3 3 j 3 bb > > œ 3 ‰œ œ œ œ œ ≈ œ œœ. œ & b œ œ œ œ œ œ œ œ #œ nœ œ œ œ œœœ œ œ œ œ #œ nœ nœ b b # # b b b b A Maj7 D 7( 11) Gm7( 5) G dim Fm7 B>7 B m7 E 7 > > 3 > b j œ œ œ œ œ œ œ œ œ œ œ j œ bœœ œ & b b œ œ œ œ œ œ J (œ )œ (œ ) œ œ œ 3 f P Ev’ry Time We Say Goodbye Words and Music by Cole Porter Copyright © 1944 by Chappell & Co. Copyright Renewed, Assigned to John F. Wharton, Trustee of the Cole Porter Musical and Literary Property Trusts Chappell & Co. owner of publication and allied rights throughout the world. International Copyright Secured All Rights Reserved PERCUSSIVE NOTES 41 APRIL 2001 AbMaj7 Db7(#11) G7(#5) C7(b9) Fm7 Bb7 Cm7 Cm7/Bb 3 3 3 > > b 3 j j œ & b b œnœbœ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ F œ Am7 D7 Gm7 C7 Fm7 Bb7 BMaj7 3 3 > 3 b j j œ œ œ ˙ b œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ & b œ œ œ œnœ œ œ 3 π Solo begins b b Gm7(#5) # B sus4 3 E Maj7 b b # j > C7( 9) 3 œ A7 j A Maj7 D 7( 11) œ > œ œ œ œ œ ˙ œ n œ œ. œ œ œ œ œ œ >œ b œ œ œ œœ œ >œ œ œ & b b ‰ œ œ F 3 3 π F b b b b Fm7>œ >œ Gm7 A Maj7 B 7 Gm7 C7( 9) Fm7 B 7 b œ œ œ œ . œ & b b ≈ œ œ œ j œ. œ Œ≈ œ œ œ # œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 π œ œ 3 EbMaj7 Abm7 Db7(#11) b œ œ œ œ œ œ œ #œ œ œ œ & b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ F 3 3 Gm7(#5) Gbdim Fm7 Bb7 Bbm7 Eb7 6 3 > >œ > b 3 >œ > œ œ œ œ & b b œ œ œ œ œ#œ œ œ œ œ œ œ œ Œ ‰ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 3 AbMaj7 Abm7 Db7 E/Eb EbMaj7 Bm7 E7 3 3 3 b > j j 3 b b œ œ œ j œ j œ nœ œ œ & # œ œ œ œ. œ # œ œ j œ #œ œ œ nœ #œ œ œ œ œ œ œ œ nœ œ œ œ cresc. PERCUSSIVE NOTES 42 APRIL 2001 b Eb b # b b # Fm7 B 7 3 A 7( 11) A Maj7 D 7( 11) j 3 œ œ n œ œ j j œ j > b œ œ œ œ œ # œ œ œ œ œ œ œ œ # œ œ œ œ. nœ & b b œ œ œ œ J 3 3 F 3 f b B>7 G7 C7(b9) Fm7 j œ Gm7(#5) C7(b9) œ œ >œ n>œ >œ œ œ œ n œ bœ œ œ œ œ b >œ œ œ >œ œ œ œ œ œ œ & b b œ œ œ œ œ 3 3 3 f P b b AbMaj7 Db7(#11) Fm7 B 7 E Maj7 >œ >œ œ > j >œ œ œ œ b j œ œ œ œ œ n œ bœ œ œ nœbœ œ œ & b b œ œ œ n œ œ Œœb œ (œ ) f 3 3 Gm7(#5) Gbdim Fm7 Bb7 Bbm7 Eb7 j œ. > b œ œ œœœ # œ œ œ j œ œ bœ œ & b b œ œ œ œ ‰ #œ œ œ 3 3 b b # b b b A Maj7 D 7( 11) G7 C7( 9) Fm7> B 7 Cm7 Cm7/B 3 > > 3 > > > > b œ 3 œ3 œ œ > & b b œ œ œ œ œ œ œ œ œ œ œ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ subito p F 3 P Am7 D7 Gm7 C7 Fm7 Bb7 BMaj7 Bbsus4 b j To piano solo & b b œ œ j œ œ œ œ œ œ . œ œ. œ œ œ œ œ w w π $500,000 or more $25,000 or more PRESIDENT’S CIRCLE McMahon Foundation Caroll Bratman $100,000 or more Nancy & Perry D. Preusch The Percussive Arts Society wishes to express its Fred Gruber Remo, Inc. deepest gratitude to the following businesses and Zildjian Family Sabian, Ltd.
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