The heads to all his tunes are easy enough, it's just IMHO being able to find something interesting to play over them that isn't just copying Bill. ![]() I don't have the CDs in front of me now, to remember what tunes he did on which album, but while something like "Nardis" is not that difficult a tune, it gives you so much space to explore that, if you're at all like me, you'll just stay stuck playing the form and not really doing the tune in a free manner, taking liberties with voicings and soloing with a kind of.freedom. If I had to pick one and only one Bill album to concentrate on, though, I'd just stick with Explorations. ![]() I believe he does "Blue in Green" on that one, which might line up with your sense of chord voicings on the fretboard. I believe most of it's been transcribed, fairly accurately IIRC. Granted, it used to be back in the day that playing in triple meter was considered pretty da**, oh wait, this is a childrens' forum, so I'm supposed to have so pretty gosh darn heck a lot, ultra-avant-garde in jazz, but I don't think it's been that case since the 1950s.ĮTA, Yeah, there's no question Portrait in Jazz is fundamental. Many live recordings by Bill exist, as well as transcriptions. Perhaps other musicians do analyse lines in terms of the key but I have found my approach to be very effective due to the reasons above.I think "Waltz for Debby" is a fantastic tune, and surprisingly can hold some challenges for a simpler piece. I’m not saying that my approach is the definitive and correct way to transpose lines. So you would have to analyse the material in terms of the individual chord, not the key. There are two consecutive 251s on the first line, but the rest the chords do not fit into 25s, or 251s as it it is a modal composition. But my point is that most of the form does not follow traditional harmonic frameworks such as 251s. Incidentally, I did transcribe this line from one of Bill Evans’ recordings of this tune. Something else that has just come to mind… using your approach, how would you analyse a line over a tune such as Blue In Green: ? I would recommend thinking of it on a per-chord basis. For example, when I am thinking in terms of scale degrees of each chord, I know which scale degrees will sound nice (primary chord tones, extensions, perhaps alterations over the dominant chord.) Now to do that whilst thinking of the key, seems super difficult to me. In addition, it may limit your ability to change, modify, or extend the line. Whilst I’m not discrediting your approach of analysing it in terms of they key, I think this would be a harder task. ![]() I think it’s very important to see and visualise the point of transition from ii-7 to V7, and in particular the point of resolution from the V7 to the Imaj7 chord. It’s very common to resolve into the 3 of a major chord. The 2 key bits of information there, are that the first note I play on the V7 chord is the 6/13, and then the first note I play on the Imaj7 chord is the major 3. I also make note of the scale degree where the chord changes, and I find this helps me apply it to new keys because I have these ‘anchor points’ in mind.įor example, with this line I think of it as the upper extensions over the ii-7 chord (9, 11 & 13), then i hit the 6/13 of the V7 chord and fall down the basic triad of the V7 chord before resolving into the 3 of the Imaj7 chord. When transcribing, I have always analysed the scale degree in relation to the underlying chord, not the underlying key.
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