![]() Upon purchase, you will be provided with an accessĬode and a link to Hal Leonard's MyLibrary site, where you can view your digitalīook along with supplemental audio or video where applicable. Hal Leonard Digital Books are cloud-based publications, which are streamingĪnd require internet access. Who Can I Turn to (When Nobody Needs Me).Song from M*A*S*H (Suicide Is Painless).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.The ultimate collection for jazz keyboardists to learn 40 Evans classics with exact note-for-note transcriptions. Song Recording 1.I Hear A Rhapsody(with Jim Hall) Undercurrent 2.Skating In Central Park 3.Night And Day(with Stan Getz) Stan Getz & Bill Evans 4.Green Dolphin Street(with Miles Davis) 1958 Miles 5.Flamenco Sketches(with Miles Davis) Kind Of Blue 6. 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. On the subject of Bill Evans there are four pieces arranged for classical guitar by Ralf Jarchow (Waltz For Debby, Remembering The Rain, Turn Out The Stars, For Nenette) in an edition published by Schott. But my point is that most of the form does not follow traditional harmonic frameworks such as 251s. Re: Blue in Green : Bill Evans (& - Miles Davis) by Kimon » Thursday 16 October 2008, 23:13 pm. Incidentally, I did transcribe this line from one of Bill Evans’ recordings of this tune. Choice and order of appearance seems somewhat erratic. 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: ? 40 transcriptions of some of Bill Evans greatest recordings, meticulously layed out with chord symbols, rhythmic styles and -very important- source references. 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. It has long been speculated that pianist Bill Evans wrote 'Blue in Green', even though the LP and most jazz fakebooks credit only Davis with its composition. 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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