Did you know? Bill Evans Harmony Jazz Music

Bill Evans (1929-1980), american jazz pianist and composer, Solo Sessions I-II (with sheet music download)

Bill Evans (1929-1980), american jazz pianist and composer, Solo Sessions I-II Download the sheet music transcriptions here.

Bill Evans, William John Evans (August 16, 1929 – September 15, 1980) was an American jazz pianist and composer who mostly played in trios. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, “singing” melodic lines continue to influence jazz pianists today.
amercian jazz pianist and composer Bill Evans sheet music transcriptions
Born in Plainfield, New Jersey, in 1929, he was classically trained at Southeastern Louisiana University and the Mannes School of Music, where he majored in composition and received the Artist Diploma. In 1955, he moved to New York City, where he worked with bandleader and theorist George Russell. In 1958, Evans joined Miles Davis’s sextet, which in 1959, then immersed in modal jazz, recorded Kind of Blue, the best-selling jazz album of all time. During that time, Evans was also playing with Chet Baker for the album Chet.
In late 1959, Evans left the Miles Davis band and began his career as a leader, with bassist Scott LaFaro and drummer Paul Motian, a group now regarded as a seminal modern jazz trio. In 1961, ten days after finishing an engagement at the New York Village Vanguard jazz club, LaFaro died in a car accident.
After months of seclusion, Evans re-emerged with a new trio, featuring bassist Chuck Israels. In 1963, Evans recorded Conversations with Myself, a solo album using the unconventional technique of overdubbing over himself. In 1966, he met bassist Eddie Gómez, with whom he would work for eleven years. Many of Evans’s compositions, such as “Waltz for Debby”, have become standards, played and recorded by many artists.
Evans was honored with 31 Grammy nominations and seven awards, and was inducted into the Down Beat Jazz Hall of Fame.
Bill Evans american pianist and composer jazz transcription sheet music

The Solo Sessions, Vol. 1 is an album by jazz pianist Bill Evans, released in 1989. Evans recorded The Solo Sessions, Vol. 1 and Vol. 2 at the same session, on January 10, 1963 and the tracks were originally released as part of Bill Evans: The Complete Riverside Recordings in 1984. The Bill Evans Memorial Library states these sessions were never intended for release.

The Solo Sessions, Vol. 2 is an album by jazz pianist Bill Evans, released in 1992. Evans recorded The Solo Sessions, Vol. 1 and Vol. 2 at the same session, on January 10, 1963. The Bill Evans Memorial Library states these sessions were never intended for release. Personnel: Bill Evans (p) Released: 1989, 1992 Recorded: January 24, 1963 Label: Milestone M-9170, MCD 9195-2 Producer: Orrin Keepnews.

Vol I: 0:00 “What Kind of Fool Am I?” [Take 1] (Bricusse, Newley) 6:17 “Medley: My Favorite Things/Easy to Love/Baubles, Bangles, & Beads” (Borodin, Wright, Forrest) 18:51 “When I Fall in Love” (Heyman, Young) 21:52 “Medley: Spartacus Love Theme/Nardis” (Alex North) 30:27 “Everything Happens to Me” (Adair, Dennis) 36:15 “April in Paris” (Duke, E. Y. Harburg)

Vol II: 42:06 “All the Things You Are” (Hammerstein II, Kern) 51:14 “Santa Claus Is Coming to Town” (Coots, Gillespie) 55:53 “I Loves You Porgy” (Gershwin, Gershwin, Heyward) 1:01:44 “What Kind of Fool Am I?” [Take 2] (Bricusse, Newley) 1:08:31 “Love Is Here to Stay” (Gershwin, Gershwin) 1:12:33 “Ornithology” (Harris, Parker) 1:18:08 “Medley: Autumn in New York/How About You?” (Duke, Freed, Lane) You can find many Bill Evans solo transcriptions and compositions sheet music in our open Library, including the great analysis book “The Harmony of Bill Evans”, by Jack Reilly.

Jazz Music Bill Evans Harmony

Bill Evans – We Will Meet Again (Sheet Music)

Bill Evans – We Will Meet Again (Sheet Music)

Find Bill Evans’ sheet music trancriptions in our Library

sheet music

We will Mett Again – The Album

We Will Meet Again is an album by jazz pianist Bill Evans made for Warner Bros. Records in 1979. It is notable in that it is Evans’s last studio recording.

After the suicide of Bill Evans’ older brother, Harry, earlier in 1979, Bill made this album with his brother in mind, “We Will Meet Again” is addressed to Harry.

Just after Harry’s suicide, Bill Evans started a relationship with a Canadian waitress called Laurie Verchomin, the track “Laurie” is named after her. Laurie eventually took care of Bill Evans until his death, she was the last person he saw before he died.


Credits adapted from AllMusic.


  • Helen Keane – producer
  • Frank Laico – engineer, mixing
  • Aram Gesar – photography
  • Stew Romaine – mastering
  • Chris Callis – photography
  • Lee Herschberg – digital mastering (reissue)
Jazz Music Bill Evans Harmony Gershwin's music

Bill Evans “I Loves You, Porgy” (Complete Transcription)

bill evans jazz sheet music

I Loves You, Porgy” is a duet from the 1935 opera Porgy and Bess with music by George Gershwin and lyrics by Ira Gershwin. It was performed in the opera’s premiere in 1935 and on Broadway the same year by Anne Brown and Todd Duncan.

They recorded the song on volume 2 of the album Selections from George Gershwin’s Folk Opera Porgy and Bess in 1942.

The duet occurs in act 2, scene 3, Catfish Row, where Porgy promises Bess that he will protect her. Bess has a lover, Crown, who is abusive and continually seduces her.

It has been popularized by Nina Simone‘s adaptation from her first album, Little Girl Blue.

Edward D. Latham contends that Gershwin’s experimental use of simple rondo form with the main theme as the refrain echoes the tension between Porgy and Bess in the duet, “It is as if Bess is clinging to the refrain for dear life, afraid that if she wanders too far from it, she will lose Porgy’s love for good.

bill evans jazz sheet music

Once again, it is Porgy who guides Bess back to the home key, re-establishing F major with a half cadence at the end of the B and C sections.” Gershwin thereby subverts the rondo forms as a guaranteed sign of confidence and stability into an indication of the situation’s volatility. Gershwin had originally changed the title from Porgy to Porgy and Bess to emphasise the romance between the two title characters and accommodate operatic conventions.

On the technicality of Bess’s role in the duet, Helen M. Greenwald, chair of the department of music history at New England Conservatory and editor of the Oxford Handbook of Opera, wrote that Bess’s solo “requires the legato power of a Puccini heroine”.

I Loves You Porgy (1935) from the opera “Porgy and Bess”

“It takes years and years of experience to know that such a note cannot take such a syllable, that many a poetic line can be unsingable, that many an ordinary line fitted into the proper musical phrase can sound like a million.”
– Ira Gershwin

The folk opera Porgy and Bess was based on a 1926 novel Porgy written by a white poet from South Carolina, DuBose Heyward, who, with his wife Dorothy, adapted the novel for a play which had a successful run in 1927. The story centers on a disabled black man (Porgy), the woman he loves (Bess), her lover (Crown), and a drug dealer (Sportin’ Life). In the Broadway show which featured a mostly black cast these roles were played respectively by Todd Duncan, Anne Brown (who introduced “I Loves You Porgy”), Warren Coleman, and John W. Bubbles.

The Heywards and the Gershwins spent part of the summer of 1934 near Charleston observing a group called the Gullahs who became the prototypes for the residents of the show’s Catfish Row.

Although George Gershwin had proposed in 1926 that Heyward write the libretto for an opera, nothing happened for several reasons until 1933, and then their lack of proximity to each other made the collaboration difficult.

It was then that Ira Gershwin became involved in the project. Some of the lyrics for songs from Porgy and Bess are credited to Ira alone, but the ever self-effacing lyricist is quoted in Philip Furia’s book Ira Gershwin: The Art of the Lyricist as saying, “Even with these, however, Ira maintained ‘I’m pretty sure I was indebted, theme-wise, to a word or phrase borrowed from the text.’” Several songs, including “I Loves You Porgy,” are credited to both Ira and Heyward.

As Furia points out, “In their collaborations, it was apparent to Ira that Heyward, fine poet that he was, simply was not skilled in the lyricist’s craft of writing singable and memorable words.” As Ira says in his book Lyrics on Several Occasions, “This is no reflection on DuBose’s ability. It takes years and years of experience to know that such a note cannot take such a syllable, that many a poetic line can be unsingable, that many an ordinary line fitted into the proper musical phrase can sound like a million.”

Many jazz artists have mined the now popular score, including Billie Holiday (1948), Oscar Peterson (1959), and the MJQ (1964).

A 1956 studio recording (reissued on CD in 1999) included the complete score with Al “Jazzbo” Collins providing the narration, Mel Torme singing the role of Porgy and Frances Faye as Bess; Ella Fitzgerald and Louis Armstrong recorded the songs in 1957; Miles Davis and arranger Gil Evans recorded their highly praised album in 1958. Nina Simone’s rendition of “I Loves You Porgy,” featured on her 1959 debut album, became one of the top 20 songs on the Billboard charts.

In 2004, trumpeter/flugelhornist Clark Terry recorded songs from Porgy and Bess (including “I Loves You Porgy”) with the Chicago Jazz Orchestra under the direction of Jeff Lindberg.

There was great enthusiasm for the production which opened at the Alvin Theatre in New York on October 10, 1935. An elaborate opening-night party was planned, but there was little to celebrate after the reviews came out, most of which, at best, were mixed. The show ran for only 124 performances, most of them at a loss. George, who considered Porgy and Bess his best work, would not live to see the acclaim that it eventually received.

According to Edward Jablonski in Gershwin: A Biography, “[Ira] was thrilled in 1976 when the Houston Grand Opera presented a stunning production of Porgy and Bess with the original score and orchestration intact. The production was a triumph which brought the shock of recognition: Porgy and Bess was a real opera.

Ira rejoiced in this, his brother’s vindication. (Ira did not live for that ultimate endorsement, a production at the Metropolitan Opera House, during the spring of 1985, nor the greater triumph at Glyndebourne, England, in the summer of 1986.)”

Although bedridden, Ira was pleased that the show also was revived at Radio City Music Hall before his death in 1983.

The 1959 film of Porgy and Bess featured Sidney Poitier as Porgy (voice dubbed by Robert McFerrin), Dorothy Dandridge as Bess (voice dubbed by Adele Addison), Sammy Davis, Jr. as Sportin’ Life, and Brock Peters as Crown.

Other notable songs from the opera include the ever popular jazz standard “Summertime,” “It Ain’t Necessarily So,” “Bess You Is My Woman Now,” and “I Got Plenty o’ Nuttin’.” Selections from Porgy and Bess were recorded in 1935 by white opera singers. Several other versions were recorded between 1940 and 2006 when the first recording of Gershwin’s original production was released featuring a cast backed by the Nashville Symphony Orchestra.

Jazz Music Bill Evans Harmony

Bill Evans – Quiet Now (1969 Full Album)

Bill Evans – Quite Now (1969 Full Album) with sheet music download

Live album by jazz pianist Bill Evans with Eddie Gómez and Marty Morell recorded at the Jazzhus Montmartre in Copenhagen in 1969 but not released until the 1980s on the Milestone label. The same concert also produced the album Jazzhouse.

Find Bill Evans’ sheet music transcriptions in our Library.

Quiet Now is an album by jazz pianist Bill Evans, released in 1969.


Bill Evans (p) Eddie Gómez (bs) Marty Morrell (dr) Released: 1970

Recorded: November 28, 1969 Amsterdam, Netherlands Label: Charly Producer: –

0:00 “Very Airy” (Evans) 5:12 “A Sleepin’ Bee” (Harold Arlen, Truman Capote) 10:01 “Quiet Now” (Denny Zeitlin) 15:27 “Turn Out the Stars” (Evans) 20:24 “Autumn Leaves” (Jacques Prévert, Joseph Kosma, Johnny Mercer) 24:40 “Nardis” (Miles Davis)

An aptly titled album from the Bill Evans Trio, Quiet Now is the jazz pianist at his most ambient and cerebral. Accompanied only by the minimalist rhythm section of bassist Eddie Gomez and drummer Marty Morell, Evans effortlessly deconstructs two pop standards, Harold Arlen’s “Sleeping Bee” and his beloved “Autumn Leaves,” a Johnny Mercer tune that he played seemingly hundreds of times, along with three of his own compositions and Miles Davis’ “Nardis,” a song Evans made his own through endless reinterpretation over the course of many years.

Morrel is a steady, unobtrusive drummer with a light touch and, happily, not much of a tendency to show off and even less to solo. Gomez, the bassist Evans worked with the longest in his career, knows how to anticipate his boss’ every move, no matter how seemingly random, and his solo spots are those rarities, economical and well-constructed bass solos that are actually fun to listen to.

Quiet Now is a bit too workmanlike to be one of the greatest Bill Evans Trio releases — it’s more solidly competent than divinely inspired, but Evans’ playing, as always, is marvelous.

Bill Evans sheet music

Find and download thousands of piano, guitar and vocal scores in our online Sheet Music Library:

Jazz Music Bill Evans Harmony

Bill Evans – “What kind of fool am I?”

sheet music Bill Evans - "What kind of fool am I?"

Find Bill Evans sheet music transcriptions in our Library.

Jazz Music Bill Evans Harmony

Bill Evans “Peace Piece”

Bill Evans “Peace Piece”

bill evans sheet music

Jazz sheet music and transcriptions download.

Jazz Music Bill Evans Harmony

Bill Evans – Explorations (1961 Album)

Bill Evans – Explorations (1961 Album) with sheet music

Explorations is an album by jazz pianist Bill Evans that was originally released on Riverside label in 1961. The album won the Billboard Jazz Critics Best Piano LP poll for 1961.


Bill Evans (p) Scott LaFaro (b) Paul Motian (dr)
Released: End of March 1961
Recorded: February 2, 1961
Label: Riverside
Producer: Orrin Keepnews

Bill Evans Trio – Explorations Track list

1 | 00:00​ | Bill Evans Trio – Beautiful Love 2 | 05:06​ | Bill Evans Trio – Israel 3 | 11:17​ | Bill Evans Trio – Haunted Heart 4 | 14:44​ | Bill Evans Trio – Elsa 5 | 19:56​ | Bill Evans Trio – Sweet and Lovely 6 | 25:49​ | Bill Evans Trio – The Boy Next Door 7 | 30:56​ | Bill Evans Trio – Nardis 8 | 36:47​ | Bill Evans Trio – How Deep Is the Ocean 9 | 40:20​ | Bill Evans Trio – I Wish I Knew

“Explorations “

bill evans explorations sheet music

was the second album Evans recorded with his trio of Scott LaFaro on bass and Paul Motian on drums. Evans considered it one of his favorites from this period. Producer Orrin Keepnews in the liner notes talks about the two extra pieces released on CD, “Beautiful Love (take 1)” and “The Boy Next Door”.

The first version of “Beautiful Love” to be included in the original LP was a second take, in fact as Keepnews specifies, “it is not the usual case of a second attempt that immediately followed the first. Early in this date, he played this number once; we both approved, and he moved on to something else. Much later, he decided to try a second ‘Beautiful Love’, which he later preferred.” “The Boy Next Door” was instead set aside, at the time, because of the limited space of LP support.

The album was remastered and reissued by Original Jazz Classics in 2011 with two previously unissued alternate takes.

The album won the Billboard Jazz Critics Best Piano LP poll for 1961.

David Rickert of All About Jazz wrote: “…Evans demands to be heard, seducing you with his indelibly emotional playing… The trio works magic here, breathing fresh air into standards such as ‘How Deep Is the Ocean?’ and ‘Beautiful Love’ and creating the illusion that these songs were written just so someone like Evans could play them.

The highlight of the album is ‘Elsa,’ which is one of the most beautiful piano ballads on record.” Writing for Allmusic, critic Thom Jurek said of the album: “Evans, with Paul Motian and Scott LaFaro, was onto something as a trio, exploring the undersides of melodic and rhythmic constructions that had never been considered by most… Explorations is an extraordinary example of the reach and breadth of this trio at its peak.”

Bill Evans’ sheet music download from our Library.

bill evans free sheet music & pdf scores download
Jazz Music Bill Evans Harmony LIVE Music Concerts

Bill Evans – Live in Switzerland (1975 Album) Jazz transcriptions

Bill Evans – Live in Switzerland (1975 Album) with Jazz transcriptions sheet music

bill evans jazz transcriptions  sheet music

0:00 Sugar Plum 7:25 Midnight Mood 15:48 Turn out The Stars 20:44 Gloria’s Step 27:53 Up With The Lark 34:13 Twele Toned Tune 41:23 Morning Glory 45:48 Sareen Jurer 52:47 Time Remembered 58:25 My Romance 1:06:20 Waltz For Debby 1:12:17 Yesterday i Heard The Rain

William J. Evans

William John Evans, known as Bill Evans, was an American jazz pianist. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, and trademark rhythmically independent, “singing” melodic lines influenced a generation of pianists. He is considered by some to be the most influential post-World War II jazz pianist. Evans had a distinct playing posture in which his neck would often be stooped very low, and his face parallel to the piano.

Bill Evans was born in Plainfield, New Jersey.He received his first musical training at his mother’s church. Evans’ mother was an amateur pianist with an interest in modern classical composers, and Evans began classical piano lessons at age six. He also became a proficient flautist by age 13 and could play the violin.

At age 12, Evans filled in for his older brother Harry in Buddy Valentino’s band. At this age he was able to interpret classical music, but he couldn’t improvise. In the beginning, he played exactly what was written in the sheet, but soon started trying to improvise, while learning about harmonies in the songs and how to alter them.

Meanwhile, he was playing dance music and jazz in a recording studio he built in his family’s basement. In the late 1940’s, Evans played boogie woogie in various New Jersey clubs. He attended Southeastern Louisiana University on a music scholarship, and in 1950 performed Beethoven’s Third Piano Concerto on his senior recital there, graduating with a degree in piano performance and teaching. He was also among the founding members of Southeastern’s Delta Omega Chapter of Phi Mu Alpha Sinfonia, and played quarterback for the fraternity’s football team, helping them win the school’s 1949 intramural tournament.

In 1958, Evans was hired by Miles Davis, becoming the only white member of Davis’ famed sextet. Though his time with the band was brief (no more than eight months), it was one of the most fruitful collaborations in the history of jazz, as Evans’ introspective approach to improvisation deeply influenced Davis’ style. Davis wrote in his autobiography, “Bill had this quiet fire that I loved on piano. The way he approached it, the sound he got, was like crystal notes or sparkling water cascading down from some clear waterfall.” Additionally, Davis said, “I’ve sure learned a lot from Bill Evans. He plays the piano the way it should be played.”

In 1974, Bill Evans recorded a multimovement jazz concerto specifically written for him by Claus Ogerman entitled Symbiosis, originally released on the MPS Records label. The 1970s also saw Evans collaborate with  singer Tony Bennett on 1975’s “The Tony Bennett/Bill Evans Album” and 1977’s “Together Again”.

Many of Evans’ tunes, such as “Waltz for Debby,” “Turn Out the Stars,” “Very Early,” and “Funkallero,” have become often-recorded jazz standards. Many tribute recordings featuring his compositions and favorite tunes have been released in the years following his passing as well as tribute compositions. Pat Metheny’s “September 15th” is one such recording.

During his lifetime, Evans was honored with 31 Grammy nominations and seven awards. In 1994, he was posthumously honored with the Grammy Lifetime Achievement Award. In addition to the Southeastern Music Hall of Fame and the Alumni Association’s Alumnus of the Year, Evans is an inductee of the Down Beat Jazz Hall of Fame.

Jazz Music Bill Evans Harmony

Bill Evans – A time for love

Table of Contents

Bill Evans – A time for love (with sheet music transcription in our Library)

bill evans sheet music score download partitura partition spartiti 楽譜

Alone (Bill Evans album)

Alone is an album by jazz musician Bill Evans, recorded in late 1968 for Verve Records. The year of release is unclear, even though a release in the first months of 1970 is a strong possibility. The Grammy Award-winning Alone was Bill Evans’ first single piano solo album following in the footsteps of his 1963 Verve session Conversations with Myself (three pianos overdubbed) and his 1967 Further Conversations with Myself, also on Verve (two pianos overdubbed). It has been reissued in various forms with additional tracks and alternate takes from sessions on September 23, October 8 and 21st.

Track listing

  1. Here’s That Rainy Day” (Jimmy Van Heusen, Johnny Burke) – 5:21
  2. “A Time for Love” (Johnny Mandel, Paul Francis Webster) – 5:06
  3. “Midnight Mood” (Joe Zawinul, Ben Raleigh) – 5:20
  4. “On a Clear Day (You Can See Forever)” (Burton Lane, Alan Jay Lerner) – 4:48
  5. “Never Let Me Go” (Ray Evans, Jay Livingston) – 14:32
Bill Evans Harmony Jazz Music Musical Analysis

The Harmony of Bill Evans (2b)

The Harmony of Bill Evans (2b) PERI’S SCOPETHEMATIC ANALYSIS

In this article, I will analyze the thematic material of Bill’s tune, “Peri’s Scope.” My purpose will be to gain insight into the principles of good melody writing and, in Bill’s case, to get inside the creative mind of a genius as that mind organized, developed and evolved his compositions by following the dictates of what Schoenberg calls the “BASIC SHAPE,” the seed thought, the germ or idea that generates the entire piece.

Because I use in these articles a specific vocabulary when I discuss Bill’s thematic material, I think it best to define these terms before I begin the analysis.

MOTIF-an interval, harmony, and/or rhythm combining to produce memorable shapes or patterns; a motif appears continually throughout a piece; it is repeated. Repetition alone often gives rise to monotony, and monotony can only be overcome by variation.

VARIATION-a change in some of the less important features of the motif and the preserva­tions of some of the more important ones.
FIGURE-a smaller rhythmic and/ or melodic feature of the motif that is repeated throughout the piece. A dotted quarter followed by an eighth note is a rhythmic figure Bill uses continually in “Peri’s Scope.”
DIRECTIONAL TONES-the range and contour (high and low points) of the theme; the main pitches that outline the theme.
INVERSION-an ascending pattern that later descends, and vice versa.
AUGMENTATION-an increased time value according to a ratio (three eighth notes become triplets, etc.).

DIMINUTION-a decreased time value according to a ratio (eighth notes become sixteenth notes).
RETROGRADE-the theme or motif played, or repeated backwards.
BASIC SHAPE-usually the first idea which generates the whole piece.
PHRASE-a complete musical thought, like a sentence in English (in this piece, 8 meaSures).

Let’s look at EX. lA to lC (measures 1-2). This is the BASIC SHAPE. The melodic figures are one lonely eighth note, a “g” on the first beat, rhythmic space or silence for one and one-half beats, a descending four note scale pattern, 11 g” to II d,” and an ascending interval leap of a perfect fourth, 11 d” to II g.” The DIRECTIONAL TONES and range are easy to calculate, 11 g” down to “d,” back up to “g.” The range is a perfect fourth. These are the memorable melodic features of Motif 1. But it’s the rhythmic, syncopated figures (EX. lE) which give Motif 1 its uniqueness and announce that “Peri’s Scope” is a jazz composition! I have found six different ways to break down Motif 1 into FIGURES. Can you find more?


Motif 2 is a development and repetition of the melodic and rhythmic figures of Motif 1. Compare EX. 2A with my analysis in EX. 2C. Bill’s V ARIA TI ON of the four note scale pattern results in a broken scale pattern in thirds. The interval leap of a perfect fourth he expands to a perfect fifth; that is, he leaped from “d” to “a.” The syncopation he shifts to the “and-of” 4, measure 3, and again on the” and-of” 3, measure 4. This last syncopated note of motif 2 is” g,” the same pitch that begins “Peri’s Scope”! And it’s also an eighth note! The rhythmic silence or space in measure 4 lasts for two beats, the same amount of rhythmic space that separates Motif 1 from Motif 2. Are these relationships accidental? I don’t think so. There is an inner “logician” at work here, the mind of the composer. Oh, yes, the range of Motif 2 is one octave.

Then in measure 5, Bill offers another VARIATION in the rhythmic pattern of measure three by introducing sixteenth notes and·a quarter-note triplet for the first time (EX. 3A). His ear immediately picks up on the sixteenth notes, so we get more of them in the very next measure! (EX. 3B).

With all of this incredible melodic and rhythmic far (measures 1-6), the DIREC­TIONAL TONES hint at monotony. Why? They all hover around the pitcli “g”! What does Mr. Evans do? He lets the” composer” step in, and in measure 7 he writes not one, but two” g­sharps,” the first chromatic note of the piece (EX. 4). How does he rhythmically treat these “g-sharps”? By holding the first one for one and one-half beats and syncopating the second one. This is breathtaking. It is in this measure that Bill reveals to us that he is inwardly singing. How does he reveal this? By following the” g#s” with six beats of rhythmic space: silence! Now he is able to make a new breath. And that is precisely how we can identify the end of one phrase and the beginning of another. Measures 1-8 comprise phrase one; measures 9-16, phrase two; measures 17-24, phrase three.

The syncopated FIGURE in measure 7 is not unique. It reappears in measures 13-16, the second part of phrase two, where Bill the composer fully exploit it (EX. SA), as the climax or high point of “Peri’s Scope.” It is the dotted quarter note, however, that is secretly exploited by alternate syncopation, i.e. every other quarter note is placed on the” and” of the beat. To make this clear in my analysis, I have rewritten these FIGURES in 6 / 8 meter (EX. SB). Because of this rhythmic complexity, the inner “logician” tells Bill to narrow the range. Now he has the opportunity to create melodic FIGURES on the intei:vals of a Major 2nd, minor 2nd, minor 3rd, and Major 3rd (EX. SC).

See Ex. 6 and 7 for further analyses of Motifs 1 and 2.

Search Posts by Categories:

and subscribe to our social channels for news and music updates:

bill evans jazz sheet music
Get Bill Evans’ transcriptions from our Library
Google Translator