3/16/2024 0 Comments Bill evans emily transcriptionquite a leap forward in my then non-existent musical ability. I subsequently purchased the CD, listened to that track until I was able to sing every note of the solo. I was not interested in Jazz (or music) before the day I heard it at a friend's house. Incidentally (or not), this is the very track that made me click with Bill Evans when I was a teenager. This is a transcription I made from "Emily" as played on the Milestone album "You're Gonna Hear From Me", recorded live in Copenhagen 1969. if you read this, I'm so glad to find you embarked on this project, I was a regular of back in the day and remember your immense contribution from there. What a fantastic piece of software, by the way. I've been transcribing things as a hobby for a long time, but only recently decided to take notation a bit seriously, thanks in great part to my fortuitous discovery of MuseScore. In summary, always think that there are ONLY 3 different kinds of chords: tonics (I), subdominants (II) and dominants (V) (although I would even try to think II and V as the same thing, as the tension that needs to be resolved).Bill Evans 1969 Emily (Mandel/Mercer) transcription In this case, I used sus color, mostly because of the melody note E, still the function stays the same. I wrote B7 just to clarify the II V connection.Īctually, I was thinking of the first beat on the measure 12 being E from the beginning of the bar, the written arrangement has the quarter pause for no reason actually.Īlways remember to look at the bigger picture The function of the bar 12 is to have a dominant chord that resolves to E-, the colors which we use are up to us to decide. Yes, you are correct, the right exact chord symbol for the measure 12 would be B7sus. I’m not quite sure I understood your question, but here some thoughts: Why do you use the E in the measure before to change the melody in m 12 and to change the chord to a Sus?” “m 11 -the melody note is an e (before measure 12)-You say to use B sus because of the melody note but in m 12 there’s a rest on beat 1 going to a B in the melody. The II chords can be used without the V this creates a relatively milder dominant tension, but still functions as one (see and play attachment). So, you can think of the bar 5 as a bar of Gmaj7, after the A-7 D7, and before starting to move towards the IVth degree Cmaj7 (D-7 G7)Īlso, you can think of the E-7 as a II chord of the E-7 A7 II V, which would resolve to the D-7. There are many ways you can think of this measure.įirst, E-7 is the same thing as Gmaj7, which is the key of the arrangement. What is the thinking that allows you to decide to replace the D minor chord going to G7, to the Eminor passing tone progression?” This is a characteristic sound of Bill Evans and can be heard in many of his recordings.Ĭheck out Hayden’s course on block chords and drop2 voicings here: He starts with the theory, and then applies to the jazz standards.Īlso I’m going to do a 5 minute masterclass about the so called ‘Barry Harris’ drop 2 voicings, where I also explain the major or minor chord/diminished chord movement with the melody. To summarise: drop 2 is an alternate way to voice the notes of a chord to achieve more interesting interval combinations. In bar 13, I harmonise the stepwise melody with drop 2 voicings.Ī 9:08, I play a 2nd inversion voicing for E-7 – I then drop the second to top note down into my left hand to play E-B-D-G – the E is the dropped note.Īt 9:09, I play a diminished 7th chord C-Eb-F#-A but I drop the second to top note (F#) into my left hand to play a drop 2 diminished voicing.Īt 9:10, I play a 3rd inversion E-7 – I drop the second to top note (G) into my left hand to get the drop 2 voicing: G-D-E-B Hi Lonnie, the below message is from Tuomo…ĭrop 2 is a voicing technique where you drop the second note from the top of the voicing into the left hand.
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