He sticks with the obvious A-7 and I think it is more musical that way. Many realbook charts have the first chord as #IVø, which Evans does not play.I’ve not shown these on my chart because they are not used in the head.įinally, I wanted to look at the opening of that D Section a bit closer: Which the bass players tend to either ignore or not notice. In his solos, Evans adds in secondary dominant passing chords in the first two bars of the A Sections: G B7alt | E-7 E7alt | A-7.Of course, B-7 sounds like Gmaj7 III is I. We saw this in the B Section of Evans’s version of How About You. The second chord of the D section is a common sub for V, it is IVm, giving the effect of a minor plagal cadence, similar to a backdoor cadence.At the end of the Slow Launcher at the end of the B Section, Evans sometimes inserts sV7/V on the main beat in the last bar, displacing V itself until later in the bar.Whereas, at the end of A2, the modulation is to the regular relative minor, E-7, using a regular V7/VI, B7.At the end of section A1, the tune modulates using the ‘backdoor’ F7 (bVII7) as a pivot chord also acting as sV7/VI but we arrive in E major, rather than E minor.There is D section, making the form ABACD (8-8-8-8-8).C section starts on relative minor but then heads to III to allows a seemingly endless sequence of pullbacks until the tonic is finally reached at the end of the D section.B section is a turnaround plus a slow launcher as expected at the halfway point.A sections are made up of a turnaround a Cadence to IV.The underlying harmony is pretty straightforward having the usual landmarks: He does not use all of them every chorus, but I have collected them all onto one chart to show what is possible. They are a level of detail that works well in his own trio, but might become really annoying if he were comping for you or playing in your band! Some of them are only used in his solo introductions (usually in a different key). I also include some of Evans’s approach chords in brackets which can muddy the waters if you don’t know they are only there to maintain his interest and perfectionist voice leading. If you are new to harmonic analysis, read my overview article which explains the techniques and gives a further reading list. He plays the opening solo in the key of A and then modulates for the trio to enter in the key of G. There is a lovely video of the trio playing Emily in a family home in Helsinki, probably 1969. And there are a bunch of live albums recorded with various of his trios up until his death in 1980. It was recorded by Bill Evans in 1967 on his Further Conversations with Myself album and also seven years later on his But Beautiful album with Stan Getz in 1974. This standard (Mandel/Mercer) was written for a film in 1964.
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