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Bill Evans Harmony Jazz Music Musical Analysis

The Harmony of Bill Evans (2b)

The Harmony of Bill Evans (2b) PERI’S SCOPE – THEMATIC 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?

BILL EVANS HARMONY SHEET MUSIC

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 variation.so 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.

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Bill Evans Harmony Jazz Music Musical Analysis

The Harmony of Bill Evans (3a) “Time remembered” Harmonic analysis

The Harmony of Bill Evans (3a) “TIME REMEMBERED“ – HARMONIC ANALYSIS (with sheet music)


“Time Remembered” must have emerged from very deep within the musical mind of Bill Evans or, as he might have put it, from the “universal mind.” It is a composition that harmonically pays homage to the Modal period in music history, the sixteenth century that gave birth to Palestrina, Byrd, Caccini, Morley, Monteverdi, Frescobaldi, and Schutz.

The harmonies and progressions of “Time Remembered” suggest four modes or scales that formed the basis of many of the works of that period: the Dorian, Phrygian, Lydian, and Aeolian. The Bach chorales of the sevente_enth century mark the transition from Modality to Tonality (major/minor system). We then had to wait three hundred years for a reincarnation of the modes in the compositions of Debussy and Ravel.

Bill knew these two Impressionistic masters inside and out, and in “Time Remembered,” he has compressed within 26 measures four hundred years of musical evolution from Modality to Tonality to Impressionism.


The unique thing about “Time Remembered” is the inconspicuous absence of the dominant 7th chord and its derivatives, the half-diminished and the full-diminished. When Bill had eliminated these, he was left with only major and minor chords. For this reason, the piece sounds impressionistic and modal.

He has met the challenge of writing a tune with only two harmonic qualities by introducing unusual root movements and by exploiting the use of the upper partials (9, 11, 13) in the melody. Let’s look at EX. 1 in which I have reduced the original to four parts. The root is always in the bass” The 3rd, 5th, and 7th, however, are voiced in a variety of ways, according to the new voicing categories that I will explain shortly.

harmony jazz sheet music

The original Bill Evans score of “Time Remembered” (EX. 2) is one of Bill’s most complex contrapuntal scores-. It’s equal in difficulfyto Bach’s Five-Part Fugue in C-sharp from Book One of the Well-Tempered Clavier. To help you to achieve a better legato, I have written a set of fingerings. Also, you might have a look at the Fugue. It’s a good preparator.y piece for “Time Remembered.”.

bill evans harmony sheet music jazz transcription

Now look at EX. 1 and listen for the harmonic qualities of Ma7 or m7; observe the voicings; feel them in your hands. Now visualize the 5th omitted. What’s left? The root, 3rd, and 7th, of course: the three-note concept. By adding the 5th to all the chords in “Time Remembered,” Bill has quadrupled the voicing possibilities.

He has also created five new voicing categories. The voicings in measures 1, 2, 6, 9, 15, 25, 26, and 29, I call category” A”: the root, 7th, 3rd, and 5th. In measures 5 (third beat only), 10 and 18, the voicing is root, 5th, 7th, and 3rd. Let’s call this category “B.” In measures 7, 8, 12, 13, 14, 17, 19, and 21, Bill voices the chords root, 5th, 3rd, and 7th. We’ll name these the “C” voicings. Next we read root, 3rd, 7th, and 5th in measures 11 and 24. This will be the “D” voicing category. Lastly, in measures 3, 4, 5 (first beat only), 22, and 23, Bill uses block voicings. This makes up our fifth category, the “E” voicings.

To make it easier to follow this analysis, I have rewritten and organized EX. 1 by voicing categories. Refer now to EX. 3A, 3B, 3C, 3D, and 3E (bar numbers under EX. 3A-3E indicate which measure(s) contains the voicing category. For example, bars 1 & 15 are examples of” A” voicings, etc.).

I have also written out all inversions appropriate to each voicing category. Exhaust all possibilities! That’s my motto. Bill did. He spent hours and hours practicing these fundamental four-part voicings, in every category, in root position and all inversions, and in all keys, until they were “second nature.” Nobody else since Art Tatum has had such an enormous voicing vocabulary “in the fingers.” And Bill has surpassed Tatum in this department owing to his broader knowledge of classical music, especially the music of Debussy, Ravel, and Stravinsky.


Now I will analyze in detail measures 7 and 8 from the original score. See EX. 4. Bill has written an Eb Ma13th resolving up a fourth to Ab Ma13th. Can you see the basic four-part seventh chord voicings and categories hidden in these seven-part chords? Not yet? Then look at EX. 4A.

Here I have isolated the basic four parts from the upper partials. (This is what the harmonic reduction in EX. 1 is all about). It is now clear that both chords belong to the “C” voicing category (See EX. 3C). Separated in EX. 4A, the upper partials now look like major triads. But they also-belong to the Eb and Ab Ma7 chords as the 9th,+ 11th, and 13th. H€re’s a simple rule to follow: by visualizing major triads superimposed one whole step above Ma7ths, you will learn to play seven-part Ma13th chords quickly. Such practice is also the first step toward thinking in polytonal relationships.

Now look at EX. 5, SA, and SB. In these examples, I have placed the upper partials of the EbMa13th with the inversions. Further experimentation will reveal other possipilities. Then you can do what Bill did: at the piano transpose your experiments to all keys until they are “in the fingers.”

In EX. 6 and 6A, my analysis of measure 6 from Bill’s original score (see EX. 2) follows the same procedure as in EX. 4 through SB. Only this time I have chosen the minor chord quality, which in this measure is a Gm13th.

Analyze each measure of Bill’s score in a similar manner and you’ll complete the harmonic picture of “Time RememberecL” By a careful study of all tl:!e chorg categories in this article, you will now have a method by which to work out the analysis of all Bill’s original scores on your own. Continue to experiment with all the chord categories from EX. 3A through 3E by placing the 9th,+ 11th, and 13th within the voicing of the basic four-part 7th chords that I have written out for you in these examples.


In the final example (EX. 8), I have written a seven-part voicing arrangement of “Time Remembered” based on all the principles discussed above and in the “Peri’s Scope” articles. Examine each measure and try to separate the basic four-part voicing by writing it next to my seven-part realization. Analyze the chord voicing category. I have worked out the first three measures for you (EX. 8, measures 1- 3).

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Guitar Play Along: The Jimi Hendrix Experience – Foxey Lady

The Jimi Hendrix Experience – Foxey Lady (Miami Pop 1968) with sheet music and background music track download

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DOWNLOAD “Guitar Play Along Volume 47 – Jimi Hendrix Experience Smash Hits With Mp3 Audio” from our Library

James Marshall “Jimi” Hendrix (born Johnny Allen Hendrix; November 27, 1942 – September 18, 1970) was an American musician, singer, and songwriter. Although his mainstream career spanned only four years, he is widely regarded as one of the most influential electric guitarists in the history of popular music, and one of the most celebrated musicians of the 20th century. The Rock and Roll Hall of Fame describes him as “arguably the greatest instrumentalist in the history of rock music”.

Born in Seattle, Washington, Hendrix began playing guitar at the age of 15. In 1961, he enlisted in the US Army, but was discharged the following year. Soon afterward, he moved to Clarksville, Tennessee, and began playing gigs on the Chitlin’ Circuit, earning a place in the Isley Brothers’ backing band and later with Little Richard, with whom he continued to work through mid-1965. He then played with Curtis Knight and the Squires before moving to England in late 1966 after bassist Chas Chandler of the Animals became his manager. Within months, Hendrix had earned three UK top ten hits with the Jimi Hendrix Experience: “Hey Joe”, “Purple Haze”, and “The Wind Cries Mary”.

He achieved fame in the US after his performance at the Monterey Pop Festival in 1967, and in 1968 his third and final studio album, Electric Ladyland, reached number one in the US. The double LP was Hendrix’s most commercially successful release and his first and only number one album. The world’s highest-paid performer, he headlined the Woodstock Festival in 1969 and the Isle of Wight Festival in 1970 before his accidental death in London from barbiturate-related asphyxia on September 18, 1970, at the age of 27.

Hendrix was inspired by American rock and roll and electric blues. He favored overdriven amplifiers with high volume and gain, and was instrumental in popularizing the previously undesirable sounds caused by guitar amplifier feedback. He was also one of the first guitarists to make extensive use of tone-altering effects units in mainstream rock, such as fuzz distortion, Octavia, wah-wah, and Uni-Vibe. He was the first musician to use stereophonic phasing effects in recordings. Holly George-Warren of Rolling Stone commented: “Hendrix pioneered the use of the instrument as an electronic sound source.

Players before him had experimented with feedback and distortion, but Hendrix turned those effects and others into a controlled, fluid vocabulary every bit as personal as the blues with which he began.”

Hendrix was the recipient of several music awards during his lifetime and posthumously. In 1967, readers of Melody Maker voted him the Pop Musician of the Year and in 1968, Billboard named him the Artist of the Year and Rolling Stone declared him the Performer of the Year. Disc and Music Echo honored him with the World Top Musician of 1969 and in 1970, Guitar Player named him the Rock Guitarist of the Year. The Jimi Hendrix Experience was inducted into the Rock and Roll Hall of Fame in 1992 and the UK Music Hall of Fame in 2005.

Rolling Stone ranked the band’s three studio albums, Are You Experienced, Axis: Bold as Love, and Electric Ladyland, among the 100 greatest albums of all time, and they ranked Hendrix as the greatest guitarist and the sixth greatest artist of all time.

Jimi Hendrix Legacy

Widely recognized as one of the most creative and influential musicians of the 20th century, Jimi Hendrix pioneered the explosive possibilities of the electric guitar. Hendrix’s innovative style of combining fuzz, feedback and controlled distortion created a new musical form. Because he was unable to read or write music, it is nothing short of remarkable that Jimi Hendrix’s meteoric rise in music took place in just four short years. His musical language continues to influence a host of modern musicians, from George Clinton to Miles Davis, and Steve Vai to Jonny Lang.

Discography

The Jimi Hendrix Experience

Jimi Hendrix/Band of Gypsys

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Bill Evans Harmony Musical Analysis

The Harmony of Bill Evans (3a) “Time remembered”

The Harmony of Bill Evans (3a) “TIME REMEMBERED“ – HARMONIC ANALYSIS (with sheet music)

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“Time Remembered” must have emerged from very deep within the musical mind of Bill Evans or, as he might have put it, from the “universal mind.” It is a composition that harmonically pays homage to the Modal period in music history, the sixteenth century that gave birth to Palestrina, Byrd, Caccini, Morley, Monteverdi, Frescobaldi, and Schutz.

The harmonies and progressions of “Time Remembered” suggest four modes or scales that formed the basis of many of the works of that period: the Dorian, Phrygian, Lydian, and Aeolian. The Bach chorales of the sevente_enth century mark the transition from Modality to Tonality (major/minor system). We then had to wait three hundred years for a reincarnation of the modes in the compositions of Debussy and Ravel.

Bill knew these two Impressionistic masters inside and out, and in “Time Remembered,” he has compressed within 26 measures four hundred years of musical evolution from Modality to Tonality to Impressionism.


The unique thing about “Time Remembered” is the inconspicuous absence of the dominant 7th chord and its derivatives, the half-diminished and the full-diminished. When Bill had eliminated these, he was left with only major and minor chords. For this reason, the piece sounds impressionistic and modal.

He has met the challenge of writing a tune with only two harmonic qualities by introducing unusual root movements and by exploiting the use of the upper partials (9, 11, 13) in the melody. Let’s look at EX. 1 in which I have reduced the original to four parts. The root is always in the bass” The 3rd, 5th, and 7th, however, are voiced in a variety of ways, according to the new voicing categories that I will explain shortly.

harmony jazz sheet music

The original Bill Evans score of “Time Remembered” (EX. 2) is one of Bill’s most complex contrapuntal scores-. It’s equal in difficulfyto Bach’s Five-Part Fugue in C-sharp from Book One of the Well-Tempered Clavier. To help you to achieve a better legato, I have written a set of fingerings. Also, you might have a look at the Fugue. It’s a good preparator.y piece for “Time Remembered.”.

bill evans harmony sheet music jazz transcription

Now look at EX. 1 and listen for the harmonic qualities of Ma7 or m7; observe the voicings; feel them in your hands. Now visualize the 5th omitted. What’s left? The root, 3rd, and 7th, of course: the three-note concept. By adding the 5th to all the chords in “Time Remembered,” Bill has quadrupled the voicing possibilities.

He has also created five new voicing categories. The voicings in measures 1, 2, 6, 9, 15, 25, 26, and 29, I call category” A”: the root, 7th, 3rd, and 5th. In measures 5 (third beat only), 10 and 18, the voicing is root, 5th, 7th, and 3rd. Let’s call this category “B.” In measures 7, 8, 12, 13, 14, 17, 19, and 21, Bill voices the chords root, 5th, 3rd, and 7th. We’ll name these the “C” voicings. Next we read root, 3rd, 7th, and 5th in measures 11 and 24. This will be the “D” voicing category. Lastly, in measures 3, 4, 5 (first beat only), 22, and 23, Bill uses block voicings. This makes up our fifth category, the “E” voicings.

To make it easier to follow this analysis, I have rewritten and organized EX. 1 by voicing categories. Refer now to EX. 3A, 3B, 3C, 3D, and 3E (bar numbers under EX. 3A-3E indicate which measure(s) contains the voicing category. For example, bars 1 & 15 are examples of” A” voicings, etc.).

I have also written out all inversions appropriate to each voicing category. Exhaust all possibilities! That’s my motto. Bill did. He spent hours and hours practicing these fundamental four-part voicings, in every category, in root position and all inversions, and in all keys, until they were “second nature.” Nobody else since Art Tatum has had such an enormous voicing vocabulary “in the fingers.” And Bill has surpassed Tatum in this department owing to his broader knowledge of classical music, especially the music of Debussy, Ravel, and Stravinsky.


Now I will analyze in detail measures 7 and 8 from the original score. See EX. 4. Bill has written an Eb Ma13th resolving up a fourth to Ab Ma13th. Can you see the basic four-part seventh chord voicings and categories hidden in these seven-part chords? Not yet? Then look at EX. 4A.

Here I have isolated the basic four parts from the upper partials. (This is what the harmonic reduction in EX. 1 is all about). It is now clear that both chords belong to the “C” voicing category (See EX. 3C). Separated in EX. 4A, the upper partials now look like major triads. But they also-belong to the Eb and Ab Ma7 chords as the 9th,+ 11th, and 13th. H€re’s a simple rule to follow: by visualizing major triads superimposed one whole step above Ma7ths, you will learn to play seven-part Ma13th chords quickly. Such practice is also the first step toward thinking in polytonal relationships.

Now look at EX. 5, SA, and SB. In these examples, I have placed the upper partials of the EbMa13th with the inversions. Further experimentation will reveal other possipilities. Then you can do what Bill did: at the piano transpose your experiments to all keys until they are “in the fingers.”

In EX. 6 and 6A, my analysis of measure 6 from Bill’s original score (see EX. 2) follows the same procedure as in EX. 4 through SB. Only this time I have chosen the minor chord quality, which in this measure is a Gm13th.

Analyze each measure of Bill’s score in a similar manner and you’ll complete the harmonic picture of “Time RememberecL” By a careful study of all tl:!e chorg categories in this article, you will now have a method by which to work out the analysis of all Bill’s original scores on your own. Continue to experiment with all the chord categories from EX. 3A through 3E by placing the 9th,+ 11th, and 13th within the voicing of the basic four-part 7th chords that I have written out for you in these examples.


In the final example (EX. 8), I have written a seven-part voicing arrangement of “Time Remembered” based on all the principles discussed above and in the “Peri’s Scope” articles. Examine each measure and try to separate the basic four-part voicing by writing it next to my seven-part realization. Analyze the chord voicing category. I have worked out the first three measures for you (EX. 8, measures 1- 3).

bill evans harmonyfree sheet music & scores pdf
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Bill Evans Harmony Musical Analysis

The Harmony of Bill Evans (2b)

The Harmony of Bill Evans (2b) PERI’S SCOPE – THEMATIC ANALYSIS

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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?

BILL EVANS HARMONY SHEET MUSIC

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 variation.so 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.

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Guitar Play Along: The Jimi Hendrix Experience – Foxey Lady

The Jimi Hendrix Experience – Foxey Lady (Miami Pop 1968) with sheet music and background music track download

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DOWNLOAD “Guitar Play Along Volume 47 – Jimi Hendrix Experience Smash Hits With Mp3 Audio” from our Library

James Marshall “Jimi” Hendrix (born Johnny Allen Hendrix; November 27, 1942 – September 18, 1970) was an American musician, singer, and songwriter. Although his mainstream career spanned only four years, he is widely regarded as one of the most influential electric guitarists in the history of popular music, and one of the most celebrated musicians of the 20th century. The Rock and Roll Hall of Fame describes him as “arguably the greatest instrumentalist in the history of rock music”.

Born in Seattle, Washington, Hendrix began playing guitar at the age of 15. In 1961, he enlisted in the US Army, but was discharged the following year. Soon afterward, he moved to Clarksville, Tennessee, and began playing gigs on the Chitlin’ Circuit, earning a place in the Isley Brothers’ backing band and later with Little Richard, with whom he continued to work through mid-1965. He then played with Curtis Knight and the Squires before moving to England in late 1966 after bassist Chas Chandler of the Animals became his manager. Within months, Hendrix had earned three UK top ten hits with the Jimi Hendrix Experience: “Hey Joe”, “Purple Haze”, and “The Wind Cries Mary”.

He achieved fame in the US after his performance at the Monterey Pop Festival in 1967, and in 1968 his third and final studio album, Electric Ladyland, reached number one in the US. The double LP was Hendrix’s most commercially successful release and his first and only number one album. The world’s highest-paid performer, he headlined the Woodstock Festival in 1969 and the Isle of Wight Festival in 1970 before his accidental death in London from barbiturate-related asphyxia on September 18, 1970, at the age of 27.

Hendrix was inspired by American rock and roll and electric blues. He favored overdriven amplifiers with high volume and gain, and was instrumental in popularizing the previously undesirable sounds caused by guitar amplifier feedback. He was also one of the first guitarists to make extensive use of tone-altering effects units in mainstream rock, such as fuzz distortion, Octavia, wah-wah, and Uni-Vibe. He was the first musician to use stereophonic phasing effects in recordings. Holly George-Warren of Rolling Stone commented: “Hendrix pioneered the use of the instrument as an electronic sound source.

Players before him had experimented with feedback and distortion, but Hendrix turned those effects and others into a controlled, fluid vocabulary every bit as personal as the blues with which he began.”

Hendrix was the recipient of several music awards during his lifetime and posthumously. In 1967, readers of Melody Maker voted him the Pop Musician of the Year and in 1968, Billboard named him the Artist of the Year and Rolling Stone declared him the Performer of the Year. Disc and Music Echo honored him with the World Top Musician of 1969 and in 1970, Guitar Player named him the Rock Guitarist of the Year. The Jimi Hendrix Experience was inducted into the Rock and Roll Hall of Fame in 1992 and the UK Music Hall of Fame in 2005.

Rolling Stone ranked the band’s three studio albums, Are You Experienced, Axis: Bold as Love, and Electric Ladyland, among the 100 greatest albums of all time, and they ranked Hendrix as the greatest guitarist and the sixth greatest artist of all time.

Jimi Hendrix Legacy

Widely recognized as one of the most creative and influential musicians of the 20th century, Jimi Hendrix pioneered the explosive possibilities of the electric guitar. Hendrix’s innovative style of combining fuzz, feedback and controlled distortion created a new musical form. Because he was unable to read or write music, it is nothing short of remarkable that Jimi Hendrix’s meteoric rise in music took place in just four short years. His musical language continues to influence a host of modern musicians, from George Clinton to Miles Davis, and Steve Vai to Jonny Lang.

Discography

The Jimi Hendrix Experience

Jimi Hendrix/Band of Gypsys

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Bach meets The Beatles

Bach meets the Beatles -“Let it be”

Bach meets the Beatles – Variations in the style of Bach “Let it be” – Improvised by John Bayless, piano.

Bach meets the Beatles free sheet music & pdf scores download

John Bayless is one of the top classical cross-over recording and concert performing artists, best known for his top-selling albums, “Bach Meets the Beatles,” “The Puccini Album” and “Circle of Life: Songs by Elton John in the Style of Bach.”  He has appeared at Carnegie Hall in a performance of his own West Side Story Concert Variations for solo piano and orchestra, made his Tanglewood debut playing Gershwin’s Rhapsody in Blue with the Boston Pops, opened the San Francisco Summer Pops season with the same work and appeared in three sold-out concerts at the Hollywood Bowl with John Mauceri and the Hollywood Bowl Orchestra.

He performed his West Side Story Concert Variations and his Bach Meets the Beatles repertoire with the Philadelphia Orchestra.  Bayless is Artistic Director for the Waring International Piano Competition. For more information, visit http://www.vwipc.org/John-Bayless-Bio.

Show was directed by Stewart Schulman.  Singer actress Jean Kauffman has a cameo. Bayless had a stroke in 2008 which left him paralyzed on his right side. Bayless shares his road to recovery, and his return to composing and performing with one hand. This story of resiliency and hope has something for everyone.

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Film Music

Yann Tiersen – Piano Works avec partitions (sheet music)

Yann Tiersen – Piano Works avec partition (sheet music)

1) La Chute 00:00 2) Les Jour Heureux 05:50 3) Naomi 08:27 4) Tempelhof 12:12 5) La Plage 15:25 6) La Retour 18:12 7) La Jetee 20:10 8) L’Absente 21:05 9) Les Retrouvailles 24:45 10) Le Matin 26:15

“Yann Tiersen – Piano Works: 1994-2003”

Yann Tiersen - Piano Works avec partition (sheet music) sheet music pdf

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Yann Tiersen (born 23 June 1970) is a French musician and composer. His musical career is split between studio albums, collaborations and film soundtracks. His music involves a large variety of instruments; primarily the guitar, piano, synthesizer or violin together with instruments like the melodica, xylophone, toy piano, harpsichord, accordion and typewriter. Tiersen is often mistaken for a composer of soundtracks, himself saying “I’m not a composer and I really don’t have a classical background”, but his real focus is on touring and studio albums which just happen to often be suitable for film.

His most famous soundtrack for the film Amélie was primarily made up of tracks taken from his first three studio albums. Borrowing from French folk music, chanson, musette waltz and street music, as well as rock, avant-garde, and classical and minimalist influences, Tiersen’s deceptively simple style has been likened to Chopin, Erik Satie, Philip Glass, and Michael Nyman.

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Beautiful Music

Concierto De Aranjuez Chet Baker – Jazz Moods: Cool (1975)

Chet Baker: Jazz Moods: Cool – Concierto De Aranjuez (Joaquin Rodrigo – Jim Hall)

Jim Hall sextet: Chet Baker, Paul Desmond, Jim Hall, Roland Hanna, Ron Carter, Steve Gadd

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Concierto is an album by the Jim Hall sextet featuring Paul Desmond, Chet Baker, Ron Carter, Steve Gadd and Roland Hanna, produced by Creed Taylor.

Baker’s biography is often the stuff of nonsense and horrible stories, from the early pretty-boy photograph of modish fascination to the toothless shrunken cheeks and final gaunt look, taking in some sickening detail. Something of a personal horror at times, he can seem to be the focus of a cult of moral passivity.

Is there any reason to suppose that, other than the loss of teeth and various physical effects of drug-taking, etc., his life after that pretentiously agonized-over photo had any profound effect on his art?

Like some older trumpeters he seems to have found his way early and intuitively, and later on to have done it sometimes brilliantly, sometimes well, and on occasion not at all. His music sometimes deepened and darkened valuably, but hardly in relation to events of a life variously describable as chaotic and indeed lost.

He was very different from Miles Davis though presumably each man drew on similar influences as a lyric trumpeter. Davis was exceptional in the range of his work as a musician, the successive bands, transformations, and everything else. Detailed correlations can be recognized between his own life and the metamorphoses of his music, its technical and emotional complexities. He was singular in comparison with even the greatest of his contemporaries, Baker’s peers, who lacked Davis’s talents and ambitions. Clifford Brown and a couple of others died too young to have developed into anything comparably above Baker.

For the rest, he was the match of most in (for instance) fast bop, but distinctively so (hear The Italian Sessions for RCA Victor). His singularity was as a lyrical player, modern and especially distinguished for a simplicity which was his intuitive endowment. In life he avoided complications as much as possible, given his problems with narcotics. That did not make for a simple life. Simplicity in musical expression was a wholly other matter, the essence of his wholly singular and altogether invaluable artistic achievement.

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The title of a tune and a film about him, “Let’s Get Lost” marks the very opposite of his best music, where when he got back to it he was anything but lost. The stable achievement of permanent value contrasts not only with his life, but with cases such as some of the recordings here from the files of CTI, which in seeking superficial aspects of his art didn’t get to the real point of it.

There was some attempt to revamp his career and remarket him on the basis of his singing as well as instrumental talents. The outstanding critic Alun Morgan, who did once ask whether trumpeters were especially unduly prone to the temptation to sing, had earlier referred to Baker’s vocalizations as “a time-consuming activity in which he sometimes indulges”.

The main reason not to reject that judgment wholesale is most audible here where following the boyish singing and strings-type backing to “What’ll I Do?”; the closer, “My Funny Valentine”, opens with Baker at his most telling on trumpet. Cool isn’t the word — the emotional depth is too great. If the audience for the live gig which produced that masterpiece (from the Carnegie Hall Concert album) applauds merely in recognition of a tune for whose performance Baker was duly celebrated, the reflective listener can’t demur from a serious appreciation. Gerry Mulligan seldom soloed better than on that track. Forget biography, the poignancy is in the music.

From the same live set and the same Baker songbook comes the lively opener, “Line for Lyons”, with Mulligan up to his best, Baker somewhat stiff and pinched, the rhythm section including electric keyboard overactive, notably the bass guitar. John Scofield’s guitar solo seems at one point to try seriously to shake it off. Who’s the vibist? What else is on that album?

From the She Was Too Good to Me album comes first the tune of that name, opening with oboe and clarinet and electric strings behind a pop vocal not in any jazz mood. The tension is off, and likewise the initially impressive trumpet solo on “Autumn Leaves” loses definition in the cloud cushions of the arrangement. Helping a fit man cross the road, the rhythm section’s too busy-busy again, with this time the drummer principal sinner. Paul Desmond was a lovely alto player; why did the keyboardist keep splashing gilt on his lily here?

“Tangerine” starts well, Desmond matching Baker beautifully before a very nice trumpet solo with real shape. Desmond manages to survive a rhythm section which goes into a chug toward the end of his contribution, and the keyboardist’s sustaining melodic development over a drummer who winds up hitting every beat he can find was an unnecessary triumph and no recommendation of this specific performance. Oh, well.

The Concierto de Aranjuez included here maybe sums up a lot, the presumably market-directed choice of a Miles Davis vehicle, and what was done with it. The impressive and forever undervalued Desmond is on alto, and instead of anything resembling Gil Evans’s scoring of the Rodrigo original for Miles Davis there’s a standard rhythm section line-up with the guitar of Jim Hall, Desmond’s partner on some wonderful recordings. Tender and atmospheric and the key to rhythmic and other continuity over the 19-and-a-quarter minutes of beautiful balladic playing, Hall and the other rhythm players rework the original as a purposive ballad jam.

Overall taking unhurriedness somewhat to excess, the virtues of Concierto‘s performance do not however include the challenging. Baker plays with the relaxation for which he was (leaving aside the terms celebrated or notorious) definitely known. Desmond for once doesn’t direct the listener’s attention but plays pretty in a cool-mood-sustaining style, verging at times on the merely decorative.

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“What’ll I Do”, a selection which doesn’t deny Baker’s music’s roots in 1920s melodic conceptions, does raise questions about how far items of its character might also and not deeply, happily relax a critic’s standards. The virtues of Baker’s singing, even without the overdone synthesizer here, are a much smaller thing than what happens in the opening of “Valentine”.

While it’s one thing to like him as a singer, as which he is better than Alun Morgan’s question suggests — and veterans including Buddy Tate and Jimmy Woode had similar gifts seldom displayed in public — Morgan’s point was presumably that the trumpet is simply so much more, revelation rather than relaxation. Nothing else in this hour’s music matches that marvelous closing track. One of Baker’s best, and Mulligan’s. The remainder at such distances below it, except for bits here and there which are matched on other later Baker albums without the present one’s weaknesses.

Actually the Concierto comes out as a merely good performance of something of which more might be expected — and as I write, the Scottish band Picante has just performed a version of that arrangement with great success at the Glasgow International Jazz Festival!

The singing and the sentimentalizing efforts at enhancement, the overdoing on the She Was Too Good sides, do indeed represent what Baker did supremely well, but at a low level. For Baker in music, such as the title suggests, there’s no dearth of much better than pop alternatives to this set. CTI asked too little of him, and did too much.

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Personnel:

Conductor, Arranger: Don Sebesky
Producer: Creed Taylor
Composer, Lyricist: Joaquín Rodrigo
Engineer: Rudy Van Gelder
Assistant Engineer: David Swope
Drums: Steve Gadd
Mixing Engineer: Danny Kadar
Piano: Roland Hanna
Mastering Engineer: Tom Ruff
Bass: Ron Carter
Alto Saxophone: Paul Desmond
Trumpet: Chet Baker

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References

Concierto de Aranjuez
Concierto
Recorded at Van Gelder Studio in New Jersey on April 16 and 23, 1975.
Categories
Jazz Music LIVE Music Concerts

Bill Evans – Live in Switzerland (1975 Album)

Bill Evans – Live in Switzerland (1975 Album)

Bill Evans – Live in Switzerland (1975 Album)

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This LP comes from a live 1975 concert by the Bill Evans Trio, which was broadcast by Radio Suisse in Switzerland. The pianist is in superb form, joined by longtime bassist Eddie Gomez and newcomer Eliot Zigmund on drums. The sound is excellent, without the annoying announcers or distortion, so this release could have very well been produced from the master tape itself. The set is wide-ranging, including both recent and older compositions by Evans, “Gloria’s Step” (the best-known work by former Evans sideman Scott LaFaro, who died far too young), along with standards like a buoyant “My Romance.

” The leader’s treatment of his ballad “Turn Out the Stars” is rather upbeat, while his somewhat avant-garde composition “T.T.T.T.” (also known as “Twelve Tone Tune Two”) is a modern masterpiece. Perhaps the greatest surprise was Evans‘ inventive treatment of pop singer Bobbie Gentry‘s “Morning Glory.”

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This CD comes from a live 1975 concert by the Bill Evans Trio, which was broadcast by Radio Suisse in Switzerland. The pianist is in superb form, joined by longtime bassist Eddie Gomez and newcomer Eliot Zigmund on drums.

The sound is excellent, without the annoying announcers or distortion, so this release could have very well been produced from the master tape itself. The set is wide-ranging, including both recent and older compositions by Evans, “Gloria’s Step” (the best known work by former Evans sideman Scott LaFaro, who died far too young), along with standards like a buoyant “My Romance.” The leader’s treatment of his ballad “Turn Out the Stars” is rather upbeat, while his somewhat avant-garde composition “T.T.T.T.” (also known as “Twelve Tone Tune Two”) is a modern masterpiece. Perhaps the greatest surprise was Evans’ inventive treatment of pop singer Bobbie Gentry’s “Morning Glory.”

The only real problem with this CD is the sloppy composer credits on two numbers. This 1990 release may be somewhat difficult to find, but it is one of the better bootlegs issued under Bill Evans’ name. — Ken Dryden, Rovi.

01 Sugar Plum 07:27
02 Midnight Mood 08:23
03 Turn Out The Stars 04:56
04 Gloria's Step 07:09
05 Up With The Lark 06:19
06 Twelve Toned Tune 07:10
07 Morning Glory 04:25
08 Sareen Jurer 06:59
09 Time Remembered 05:38
10 My Romance 07:54
11 Waltz For Debby 05:58
12 Yesterday I Heard The Rain 05:42

Bill Evans, piano
Eddie Gomez, bass
Eliot Zigmund, drums

Epalinges, Switzerland, 6th February 1975
sheet music pdf

Bill Evans was on an upswing in 1968. There had been tragedy and depression and demons to bear, but the jazz pianist had made his way forward over the previous few years. He had collaborated fruitfully with such peers as Jim Hall, gained a devoted new manager, signed with the high-profile Verve label, and won his first Grammy Award. Evans had also developed rapport with a virtuoso young bassist, Eddie Gomez, and they eventually added an up-and-coming force of a drummer, Jack DeJohnette, for a new trio — one that seemed to hold a dynamic promise that the pianist’s groups hadn’t quite shown since his famously inspired trio with drummer Paul Motian and short-lived bassist Scott LaFaro in 1959–61.

A European tour by Evans, Gomez, and DeJohnette in the summer of ’68 would yield an ebullient live album, At the Montreux Jazz Festival, that garnered the pianist his second Grammy. Then Miles Davis broke up the band.

That is, Davis lured DeJohnette away to his own group. Evans could scarcely blame the drummer for leaving him to join the era’s most iconic jazz bandleader. After all, the pianist had made his own name as the trumpeter’s kindred-spirit collaborator on Kind of Blue, the LP that would turn on more people to jazz than any in music history. (DeJohnette would end up playing on Davis’s Bitches Brew, an album almost as epochal for the late sixties as Kind of Blue was for the late fifties.)

But it seemed like a missed opportunity, as the Evans trio with DeJohnette and Gomez, having been together for just six months, was only able to make that one live recording, nothing in the studio. Or at least that’s the way the story went until 2016, when Resonance Records released Some Other Time: The Lost Session from the Black Forest, a two-disc set derived from impromptu recordings made by the trio in a German studio just five days after that celebrated Montreux concert.

For reasons not quite clear, the recordings had never been issued before Resonance’s sleuthing. But all’s well that ends well, at least for today’s Bill Evans fans.

Then lightning struck twice. Last year, Resonance followed up Some Other Time by releasing a second, contemporaneous discovery: Another Time: The Hilversum Concert, which presents a pristine recording of Evans, Gomez, and DeJohnette performing for an audience in the intimate hall of the Netherlands Radio Union, just two days after that studio session in Germany. Moreover, the set list for that Dutch broadcast recording only features two numbers in common with the Montreux concert from the week before. Suddenly, we have two valuable “new” albums — recordings never even bootlegged before — by one of the most beloved and widely influential pianists in the annals of jazz.

“Bill Evans has shaped the harmony of every jazz pianist of the past fifty years, whether they want to admit it or not — because even if they didn’t listen to Bill, they listened to players who did listen to him, from Herbie Hancock on down,” says ace jazz pianist Frank Kimbrough, who teaches at the Juilliard School. “And for the public, the beauty of his music, particularly his early work, has always been accessible — easy to listen to, even if it isn’t ‘easy listening.’”

Download Bill Evans’ transcriptions sheet music from our online Library.

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