Jazz transcriptions are pieces of jazz music that have never been written down but have been put into notation. These transcriptions can be used for both research and performance. They can be quite complicated at times, necessitating exceptional transcribing abilities. Although transcriptions do not have to be exact replicas of what the performer played or sang, transcribers usually consider the work’s spirit and original intent when creating a transcription.
These transcriptions are usually divided into two groups. True transcription is the first category, in which the transcriber writes down jazz music for the same instrument on which it was first performed. The transcriber stays true to the work’s original intent and feel by writing out the pitches and rhythms exactly as the performer played them in this type of transcription. Because some of the performances by jazz masters are at a level of playing ability far beyond what other performers can do, and because it is difficult for the transcriber to hear every note perfectly, these types of transcription are relatively rare.
Loose transcription is the second type of jazz transcription. Arranging is a more accurate term for this type of transcription. The transcriber makes changes to whatever was previously played. He might, for example, change pitches by an octave to accommodate the range of a different instrument than the original. He may also simplify complicated rhythms or, in some cases, add entirely new material, blurring the distinction between composition and arranging.
Jazz transcriptions are commonly used to preserve and recreate jazz improvisations. Typically, transcriptions are based on a single player’s performance, but due to the nature of jazz, some transcriptions include writing down the collaborations of multiple jazz musicians who improvised using standard jazz chord progressions. Regardless of how difficult the jazz transcriptions are, they aid others in better understanding the theoretical aspects of jazz. It also allows other musicians to imitate jazz greats and improve their skills.
Jazz transcriptions necessitate the transcriber’s musical expertise. Because the transcriber can only work with sound, he must either have perfect pitch (the rare ability to name a note automatically and correctly upon hearing) or extremely good relative pitch (the ability to determine what a pitch is in relation to another). The transcriber must also have a strong sense of internal rhythm, which allows them to decide how long each note or rest should be in the notation, as well as how to organize the piece in terms of meter and measure. Even with these abilities, dissecting and notating extremely complex jazz improvisations can take days or even weeks for a good transcriber.