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Education, Literary
Jack Reilly The Harmony of Bill Evans PDF screenshot
PDF | 5.15 MB
Bill Evans, the pianist, is a towering figure acknowledged by the jazz world, fans, musicians and critics. However Bill Evans, the composer, has yet to take his place alongside the great masters of composition. Therein lies the sole purpose of this book. A compilation of articles – now revised and expanded – that originally appeared in the quarterly newsletter Letter from Evans, this unique folio features extensive analysis of Evans' work. Pieces examined include: B Minor Waltz • Funny Man • How Deep Is the Ocean • I Fall in Love Too Easily • I Should Care • Peri's Scope • Time Remembered • and Twelve Tone Tune.

Author Jack Reilly is a pianist, composer and educator in both the jazz and classical genres. He has chaired the Jazz Studies departments of the New England Conservatory of Music, Mannes College of Music, and The New School. He is presently Jazz Piano Professor at Rowan College in New Jersey.


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comments

  Member 18.02.2014 1 109
+39
Incredible share. I would like to read a good, in depth analysis of the harmony in "Blue in Green", one of the most incredible chords progressions in modern music. In Evans piano-solo version, his left hand plays with the harmony all over the progression. In Miles' version (Kind of blue), his improv over the sequence is legendary, opening the doors to Coltrane's solo.
"How deep is the ocean" is another classic which allows for different approaches from the harmonic perspective.
Thanks a lot, PiRAT
  Resident 21.04.2014 1585
+328
Amazing. The author comments where 'Bill Evans' learned from:
"In fact if you pick up the Theory of Hamony by Arnold Schoenberg, you will find out where Bill learned these principles and you'll be able to follow my explanations intelligently".


That's it: Schoenberg, such a book has no music examples, but to a good connoisseur or smart ones just need to understand the fundamentals: ie as 'V goes I' or 'vi'; or 'I goes IV', or modulated to his relative minor, that is build on 'vi' to begin any minor scale.

If you read this book, you will realize that the secret of 'Bill Evans' is common to all other great musicians, such a secret lies in the dominant chords, the author makes the mistake of giving much value to the secondary dominants, but, they are more than simple dominant chords that intensify the arrivals in the banal circles of fifths.
I think it's weird, because all the good music and standards are full filled with secondary dominants, it is almost impossible to find a song without it, and it was on this type of chord that the Jazz manifested itself to the summit.

The author commented on a gross mistake, he not only emphasizes the secondary dominant chords, but deals with very little about 'VOICE LEADING' , that is an import tool to analyze Jazz, Classic Music, Pop, Guitar Tunes, folk music for children, as well any standard or major improvisations.
Despite this, I liked the book a lot, because it brings a lot of light.

'VOICE LEADING' is extremely important to analyze 'Bill Evans', just listen to know that the notes of melody and improvisation are changed in their conductions. The author says that the arrangements of 'Bill Evans' are compositions, and I agree.
I particularly think that 'Bill Evans' is more than a classic within the jazz language, within the sense of erudition, HE managed to compose and think within sophisticated structures as done by other composers like 'Erik Satie' and 'Debussy', but unfortunately for the limited mind of old critics of the art, whose on hearing to a bass and drums, classified him as a jazzman, a talented pianist with many good ideas.

For me and to be recorded that for the XXII century, 'Bill Evans', an introspective and solitary composer, is a scholar composer within the Jazz, in other words he is a classical composer within the Jazz.
If reincarnation really exists, I don't know, I would say that Debussy or Satie came back to do Jazz.

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