Bill Evans An Analytical Study

INFORMATION TO USERS
The m ost advanced technology has been used to photo

graph and reproduce this manuscript from the microfilm
master. UMI film s th e text directly from th e original or
copy submitted. Thus, some thesis and dissertation copies
are in typewriter face, w hile others may be from any type
of computer printer.
The quality of th is reproduction is dependent upon the

quality of the copy subm itted. Broken or indistinct print,
colored or poor quality illu strations and photographs,
print bleedthrough, substandard margins, and improper
alignm ent can adversely affect reproduction.
In the unlikely event that the author did not send UMI a
complete manuscript and there are m issing pages, these
w ill be noted. A lso, if unauthorized copyright m aterial
had to be removed, a note w ill indicate the deletion.
Oversize m aterials (e.g., maps, drawings, charts) are re

produced by sectioning th e original, beginning at the
upper left-hand com er and continuing from left to right in
equal sections w ith sm all overlaps. Each original is also
photographed in one exposure and is included in reduced
form at the back of the book. These are also available as
one exposure on a standard 35mm slide or as a 17" x 23"
black and w hite photographic print for an additional
charge.
Photographs included in th e original m anuscript have

been reproduced xerographically in th is copy. H igher
quality 6" x 9" black and w hite photographic prints are
available for any photographs or illustrations appearing
in this copy for an additional charge. Contact UMI directly
to order.
University Microfilms International

A Bell & Howell Information Company
300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA
313/761-4700 800/521-0600
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
O rder N um ber 8909372
B ill Evans: A n analytical study o f his im provisational style

through selected transcriptions
Widenhofer, Stephen Barth, D.A.

University of Northern. Colorado, 1988
Copyright c!988 by Widenhofer, Stephen Barth. All rights reserved.
UMI
300 N . Zeeb Rd.
Ann Arbor, M I 48106
UNIVERSITY CF NORTHERN 0010800
Greeley, Colorado
The Graduate School
BILL EVENS: AN ANALYTICAL STUDY CF HIS IMPROVISATICNAL

STYLE THROUGH SELECTED TRENSCRIPTICNS
Stephen B. Widenhofer
College of Performing and Visual Arts

School of Music
Fall Semester, 1988
THIS DISSERTATION WAS SPONSORED
BY
H James S. Upton
Research Advisor
Stephen B. Widenhofer
DISSERTATION COMMITTEE
Advisory Professor _
Mr. Edwin D. Baker
Advisory Professor_______ J U ^ J f i .
Dr. Richard N. Bourassa
Advisory P r of essor______________ ^ \ u < y L j _______

Dr. Laura Rhoades Rush
Faculty Representative « ~ t __________________

Dr. Bruce W. Broderius
DEAN OF THE GRADUATE SCHOOL
■€.. ________________
Examination Date of Dissertation November 4, 1988
(c) 1988
STEPHEN BARTH WIDENHQEER
ALL RIGHTS RESERVED
ABSTRACT
Widenhofer, Stephen B. Bill Evans: An Analytical Stucfy of

His Improvisational Style Through Selected
Transcriptions. Published Doctor of Arts
dissertation, University of Northern Colorado, 1988.
The purpose of the study was to analyze Bill Evans'

(1929-80) jazz inprovisational style through transcriptions
of recordings made at various points of his career. The
transcriptions contained in the document are "All of You"
(Sunday at the Village Vangard). "Israel" (Trio '65).
"T.T.T." (The Bill Evans Album). "Since We Mat" (Since Vfe
Ifet), and "Up With The Lark" (The Paris Concert: Edition I).
These pieces reflect a balance between traditional jazz
standards and Evans' own compositions. The eighteen year
time span from which these transcriptions were extracted
represent Evans' most creative period.
The improvisations were analyzed and described with
regard to scales, melodic patterns, motivic development,
chord voicings, harmonic substitution, and rhythmic patterns
and variation. Since these recordings were in the piano trio
setting, various subtleties in orchestration and interaction
among the members of the ensemble were noted.
in
Among the conclusions reached was that Evans' basic
style changed very little during the course of his career
although there seemed to be a more adventurous and energetic
drive in the later improvisations. The transcriptions reveal
Evans* clear sense of melodic phrasing and his ability to
logically manipulate and develop both rhythmic and melodic
motives. Additionally/ Evans' subtle use of the left hand,
both from a harmonic and rhythmic point of view, demonstrates
a unique, technical command of theoretical and musical
elements.
In each transcription, Evans displays a consistently

high level of musicianship that firmly places him among the
best of jazz pianists. Although his career bridged several
new stylistic approaches in the jazz idiom, he demonstrated
his craft within the more traditional elements with which he
was most comfortable. It is hoped the study may contribute
to a better understanding of Evans* inprovisational style
and, at the same time, provide new pedagogical material for
the jazz educator.
iv
ACWSDWLEDOÊNTS
Grateful acknowledgment is made to Professor James S.

Upton, Chairman of the Department of Music History and
Literature of the School of Music, University of Northern
Colorado, for his interest in and advice on all aspects of
this study. Sincere appreciation is expressed to my wife and
family, dissertation committee, friends, and colleagues at
Millikin University for encouragement and understanding
during my doctoral studies. Special thanks go to Ron
Nethercutt, curator of the Bill Evans Archives at
Southeastern Louisiana University, for providing important
information and insight during the preparation of this
document.
I am indebted to the following publishing firms who
granted me permission to reproduce the music and
transcriptions contained in this study:
"All of You" Words and Music by Cole Porter

Ccpyright (c) 1954 by Cole Porter
Copyright Renewed, assigned to Robert H.
Montgomery, Trustee of the Cole Porter Musical &
Literary Property Trusts. Chappell & Co., Inc.,
Publisher. ALL RIGHTS RESERVED. USED BY PERMISSION.
"Israel" by John Carisi

Ccpyright (c) 1962 by Beechwood Music
Corporation. ALL RIGHTS RESERVED. USED BY
PERMISSION. ..
v
"T.T.T. (Twelve Tone Tune)" by Bill Evans
Ccpyright (c) 1971 Qrpheum Music, Courtesy of
Fantasy, Inc. ALL RIGHTS RESERVED. USED BY
PERMISSION.
"Since We Mat" by Bill Evans

Ccpyright by Teneten Music Inc.
ALL RIGHTS RESERVED. USED BY PERMISSION.
"Up With The Lark” by Jercme Kern and Leo Robin

Ccpyright (c) 1946 T.B. Harms Company. Ccpyright
Renewed, (c/o The Vfelk Music Group, Santa Monica, CA
90401). INTERNATIONAL COPYRIGHT SECURED. ALL RIGHTS
RESERVED. USED BY PERMISSION.
TABLE CF CONTENTS
Page
Chapter
I I N T R C m C T I C N ...................... 1
Biographical Sketch 1
Review of Related Literature 11
Analytical Procedures 13
Works for Analysis 14
II ANALYSIS CF WORKS ................ 15
"All of You" 17
"Israel" 27
"T.T.T. (Twelve Tone Tune)" 34
"Since We Met" 42
"Up With The Lark" 53
III STYLISTIC I N T E R P R E T A T I C N ........... 63
IV OCNCLUSICNS........................ 72
jfoplications of theStudy 75
APPENDICES
A "ALL CF YOU" .................... 78
B "ISRAEL" ...................... 94
C "T.T.T. (TWELVETCNETUNE) ” . . . 103
D "SINCE WE MET" ................ 118
E "UP WITH THE LARK" . . . . . . 138
BIBLIOGRAPHY ............................ 158
CHAPTER I
INTEEDDCTICN
Bioaraphi ral .Rtet-r-h
With Bill Evans* untimely death in 1980 the

jazz/musical world lost a significant spokesman and musician
whose influence continues to be felt by virtually all jazz
pianists. Jazz critics such as Leonard Feather, Gene Lees
and Dan Mbrgenstem have variously described Evans* style as
introspective, irrpressionistic, melancholy, powerful, sparse,
lyrical and sensitive. Joachim Berendt*s assessment of Evans
is typical:
. . . in today’s terms, he was the first "modal"

pianist. He might be designated a "Chcpin of the
modem jazz piano," with the eminent skill— without
comparison in jazz— to make the piano "sound" in a
way that places him (in terms of sound) in the
vicinity of a pianist like Rubenstein.1
Billy Taylor stated that "Bill Evans constantly sought
out new resources . . . He was consistent in the development
^Joachim E. Berendt, The Jazz Book, trans. H. and B.

Bredigkeit with Dan Morgenstem (New York: Granada Publishing
Limited, 1983), p. 282.
of a pianistic style."2 Evans' unique place in jazz history
was observed by Dan Margenstem in an article written in
1964:
There can be little doubt that Bill Evans is one of

the most influential pianists— if not to say one of the
most influential musicians— in jazz today. His
strikingly personal conception has not only touched
younger players whose styles were formed after Evans
became widely known through his tenure with the Miles
Davis Sextet in 1958, but it also has affected many
pianists with longer roots.3
Evans credited George Shearing as being an important
musical influence and indeed, Shearing's use of chord
paralleling with the upper melodic voice being doubled within
the chord can be perceived in seme of Evans' inprovisations.
Mure typical of an Evans' solo, however, is a single line in
the right hand (occasionally incorporating seme thirds or
fourths) supported by sustained chords in the left hand that
have been almost "brutally pared down until all that remains
is the naked skeleton of jazz harmony. "4 These right hand
moncphonic lines evolve from the bebcp period (ca. 1943-53)
by which Evans was profoundly influenced. Bud Powell, the
2Billy Taylor, Jazz Piano: A Jazz History (Dubuque,

Iowa: Win. C. Brown Company Publishers, 1983), p. 193.
^Dan Morgenstern, "The Art of Playing, " Downbeat 31

(October 22, 1964) :14.
4Jim Aikin, "Bill Evans, " Contemporary Keyboard 6

(June, 1980):45.
innovator of this bebop pianistic approach, was admired by
Evans. The early recordings of Lennie Tristano also had an
impact on his musical evolution as evidenced by this
statement of Evans:
I heard the fellows in this group building their lines

with a design and general structure that was different
from anything I'd ever heard in jazz. I think I was
impressed by Lee Konitz and W a m e Marsh more than by
Lennie, although he was probably the germinal
influence. I guess it was the way Lee and W a m e put
things together that impressed me.5
The carefully crafted melodic lines of an Evans
improvisation are equal to his sense of harmonic subtlety.
The term "voicing" is often used to denote a jazz pianist's
vertical alignment of harmonic elements and various observers
have noted the apparent influence of certain classical
composers in Evans' voicings, particulary Ravel, Debussy and
Chopin. Evans did not limit his practice time to jazz alone.
In a 1965 interview with John Mfehegan, Evans underscored the
importance of the classical literature:
To me, it's a constant food of inspiration and

motivation and it is a thrill and a pleasure for me to
spend a few hours with Bach whenever it is possible . .
. most of my time has been spent with Beethoven, Brahms,
Mozart and, of course, the French and Spanish
Impressionists.6
^Don Nelsen, "Bill Evans," Downbeat 27 (December 8,

1960):17.
Gjohn Mfehegan, "Bill Evans," Jazz Magazine 4 (January,

1965) :6.
Jazz pianist Warren Bernhardt commented on Evans'
voicing skills by stating " . . . you see, a given voicing
will have different effects in different registers,
especially when you use semi-tones as much as Evans does. So
he constantly shifts voicings, depending on the register."7
In the same article, Evans said of his harmonic approach " .
. . it's such an accumulated thing. The art lies in
developing enough facility to voice well any new thought.
It's taken me 20 years of hard work and playing experience to
do as well with it as I can. "8
In addition to his stature and influence as a jazz
pianist, Evans has graced the jazz repertory with numerous
compositions. Most noteworthy perhaps, is "Waltz for Debfcy,"
which has been recorded by various jazz musicians and even
arranged for a vocal jazz ensemble with the lyric added by
Gene Lees. Len Lyons wrote of his varied talents: ". . .
like his irrprovising, his composing was typified by clear,
melodic lines and rich, colorful harmonic sound. "9 His
interest in composition is emphasized by the fact that he did
three semesters of post-graduate composition work at Marines
College in New York in 1955. He was one of the few jazz
7Gene Lees, "Inside the New Bill Evans Trio," Downbeat

29 (November 22, 1962):24.
8Ibid.
9len Lyons, The Great Jazz Pianists (New York: Quill

Press, 1983), p. 220.
composers to experiment with 12-tone composition and one of
those pieces, entitled fittingly "T.T.T. (Twelve-Tone Tune),"
has become one of the few successful dodecaphonic pieces in
the jazz repertory. Leonard Feather stated that Evans is, ".
. . as one might ejqpect, a composer of exceptional talent."10
To be sure, Bill Evans established himself as a balanced
musician: pianist, improviser and composer.
William J. Evans was b o m in Plainfield, New Jersey,
on August 16, 1929. His earliest musical training was from
his brother who was a professional musician and educator. He
later obtained a scholarship to Southeastern Louisiana
College and graduated with honors from that institution in
1950 with a bachelor of music degree. Throughout his college
career, Evans played the piano professionally and seemingly
absorbed the styles of the then current musicians in and
around New Orleans. After graduation, he played with
guitarist Mundell Lowe and bassist Red Mitchell for a short
time and then joined the rhythm and blues band of Herbie
Fields. Following a three year term in the Armed Forces as a
military musician, Evans returned to his heme in New Jersey
in 1954. During the next few years, he worked with numerous
musicians and began to attract attention in jazz circles as a
member of clarinetist Tony Scott's quartet. Evans also began
an association with George Russell, -whose Lydian Chranatic
IQLeonard Feather, The Book of Jazz (New York: Horizon

Press, 1965), p. 70.
Concept: of Tonal Organization helped shape sane of his
melodic and harmonic inclinations. Although Russell used him
as a sideman on several albums during the next few years,
Evans* recording career really began in 1956 -when Orrin
Keepnews signed him to a contract with Riverside Records. As
Keqpnews recollects/ the circumstances surrounding the
signing of this contract were, indeed, unusual:
Mundell Lowe, who as a very professional guitarist

should have known better, insisted on playing a homemade
demo tape (of Evans) for my partner and myself over the
telephone! . . . But we did have the good taste to hear,
despite the roughness of that tape and the very special
distortion that the telephone always adds, that
Mundell *s young friend did indeed have something. ^
Thus began a long and rewarding association between
the two people as Keepnews produced approximately two-thirds
of the recordings on which Evans played. Helen Keane, Evans'
manager, produced the others.
Evans' reputation grew steadily after the release of
the first two Riverside recordings, but it was his eight
month association in 1958-59 with Miles Davis which first
gave him widespread attention. This collaboration, which
culminated in the album Kind of Blue, proved to be a success
for both musicians. The album was one of the first recorded
examples of the possibilities of modal'writing and
improvisation in jazz and was a refreshing change to the
llQrrin Keepnews, "Bill Evans: The Early Recordings,”

Contemporary Kefooard 6 (December, 1980) :15.
cycle of fifths harmonic content of the post bebop school.
The voicings Evans used in the composition "So What" are
constructed using fourths as the structural interval and are
excellent examples of the modal approach to jazz harmony.
They are often times refereed to by jazz musicians as the "So
What" chords. Evans left the Davis quintet on his own
volition:
At the time I thought I was inadequate. I wanted to

play more so that I could see where I was going. I felt
exhausted in every way— physically, mentally, and
spiritually. I don't know why. Maybe it was the road.
But I think the time I worked with Miles was probably
the most beneficial I've spent in years, not only
musically but personally. It did me a lot of good. 12
After his collaboration with Davis, Evans emerged as
leader of his own trio and firmly established himself as an
extraordinary jazz pianist. The piano trio format (piano,
bass and drums) was Evans* favorite kind of ensemble and
"despite a number of ventures with augmented groups it was in
that setting that he made most of his records and gained a
personal image for the rest of his life."1-3 The most
memorable of these early trios consisted of Scott LaFaro on
bass and drummer Paul Motian. The recording they made at the
Village Vangard in New York on June 25, 1961 is an
l^Don Nelsen, "Bill Evans," Downbeat 27 (December 8,

1960):17.
^Leonard Feather, "Bill Evans: The Gentle Giant,"

Contemporary Keyboard 6 (December, 1980) :14.
8
outstanding example of small jazz ensemble cohesiveness.

Orrin Keepnews stated " . . . I wasn't looking for two albums
at the time, but there just wasn't anything you could throw
a w a y . "14 The unified sound of this trio, in deliberate
distinction to the normal piano-^th-accompaniment trio, was
a style Evans searched for throughout his career. Largely
because of LaFaro's superior musicianship, Evans was able to
crystallize the stylistic aesthetic he was after in the trio
setting. He described this aesthetic to Jim Aikin in an
article published several months before his death:
What we tried to do was loosen up everybody's role so

that they were participating more, and with
responsibility. This is difference. It takes a really
complete musician and a complete artist to be creative
and have the responsibility to know when you can do
something which is a little freer than it has been, and
when you shouldn't . . . It takes a really musical
approach, and artistic approach, to know when to be
really simple, and when you should break something u p .
Two weeks after these recordings LaFaro died
tragically in a car accident and Evans did very little
playing for a year. Paul Motian described their feelings at
that time:
When it began to sink in, we . . . we didn't know what

to do. We didn't know if we'd still have a trio. We'd
1-^Qrrin Keepnews, "Bill Evans: The Early Recordings,"

- Contemporary Keyboard 6 (December, 1980): 15.
l-5jim Aikin, "Bill Evans," Contemporary Keyboard 6

(June,1980):45.
reached such a peak with Scott, such freedom. It seemed
that everything was becoming possible.16
Since working with LaFaro, Evans has always sought out
the best possible bassists available, and with first Gary
Peacock and later Chuck Israels, he seemingly regained the
freedom of egression evident in the earlier recordings. In
1967 Evans began an eleven year association with bass player
Eddie Gcmez. The recordings made during this time span
attest to the musical ity of these two musicians. Drummer
Marty Morell completed the trio for several years followed by
Jack DeJohnette and Eliot Zigmund. Although Evans played and
recorded with other musicians during this time, he felt
strongly about the way a group of musicians can grow together
musically over a period of time.
I believe in a steady group. I believe in a group

where the people are right for the group, where they
believe in the music, and they're responsible, and you
stay together. That way, the music grows, and it grows
in ways that you don't even realize. This is a firm and
deep belief of mine, and consequently the people that
have been with me have been with me for fairly long
periods of time.^
When Gcmez and Zigmund left the group, Philly Joe Jones
played drums with Evans for a year with several different
bass players completing the trio. Finally in 1978, Evans
formed what would be his last working trio with bassist Marc
l^Gene Lees, "Inside the New Bill Evans Trio,"

Downbeat 29 (November 22, 1962) :25.
17Jim Aikin, "Bill Evans," Contemporary Keyboard 6

(June, 1980):50.
I
10
Johnson and drummer Joe LaBarbera. This particular group

recieved critical acclaim and, indeed, favorable comparisons
have been made between it and the trio with LaFaro and
Motian. Evans, especially, seemed genuinely enthusiastic
about this group and, together, they recorded several albums
as a trio and with other musicians.
Aside from the many trio recordings, Evans legacy is
preserved in other settings as well. He recorded duo albums
with guitarist Jim Hall, Eddie Gcmez and Tony Bennett. Seme
of the more notable recordings with an augmented ensemble
include: Quintessence,. with Harold Land on tenor sax and
Kenny Burrell on guitar; Crosscurrents, featuring
saxophonists Lee Konitz and Wam e Marsh; Affinity, with Toots
Thielmans on harmonica and Larry Schneider on woodwinds; and
We Will Meet Again, featuring trumpeter Tcm Harrell and Larry
Schneider. Evans also played in recordings that were part of
the so called "third stream" movement. Scene of his earlier
work with George Russell was in this genre. In 1974, Evans
was featured on the premier recording of Symbiosis, a piece
written for orchestra and jazz trio by Claus Ogerman.
Evans seemingly enjoyed playing solo piano and
recorded five solo albums. Three of these, Conversations
With Myself. Further Conversations, and New Conversations are
frequently considered as landmarks in the history of jazz
piano due to his explorations of the color possibilities of
double and triple track recording techniques. Indeed, he won
his first Grammy Award for Best Instrumental Jazz Performance
11
with Conversations With Myself (1963). Additional Granny

honors included Best Jazz Performance by a Small Group, Bin
Evans at the Mnntreux Jazz Festival (1968); Best Jazz
Performance by a Soloist, Alone (1970); Best Jazz
Performance by a Group and Best Jazz Performance by a
Soloist, The Bill Evans AThnm (1971). In 1983, the
Association of French Jazz Critics honored the record, H e
Paris Concert; Edition I. as Album of the Year. Evans also
won the Downbeat Critics' Poll five times, the Malody Maker
Award in 1968, Scandinavia’s Edison Award in 1969 and Japan’s
Swing Journal Award that same year.
Review of Belated Literature

During the years of his most pronounced visibility
(1959-80), Bill Evans was the subject of numerous articles
dealing with a wide variety of topics. Most significant to
this study are the interviews in which his ideas and concerns
about music are discussed. Although there is not a published
biography or detailed style analysis of Evans, his place in
jazz history is mentioned in many jazz related books.
Unfortunately, most of these entries discuss his style in a
very superficial way.
Ludlow Music has published five books of Evans' music.
Contained in these collections are eleven solo transcriptions
with the majority of the music being either arrangements of
compositions without improvisations, or pieces employing just
12
the melody and chord symbols. None of the published material

makes an attempt at any kind of style analysis.
Two dissertations related to this study surfaced
through a computer search of the ERIC data base and through
examination of Dissertation abstracts. The first, "The Jazz
Piano Style of Bill Evans" (D.M.A. thesis, University of
Kansas, 1979) by Joe Uttefback is general in nature. He
details the history of jazz piano from earliest times, gives
a short biography of Evans, and discusses his music through
citations of his many recordings. Evans* style is not
analyzed in detail. There are only eight measures of
transcribed solo material and little of it is mentioned.
"Hcmer, Gregory, and Bill Evans? The Theory of Formulaic
Composition in the Context of Jazz Piano Improvisation"
(Ph.D. dissertation, Harvard University, 1983) by Gregory
Smith, utilizes Bill Evans* improvisations to relate various
theories of formulaic composition to a jazz musician's
creative process. In this work, Smith uses the examples of
classic poetic formulas as a basis for analyzing melodic
formulas in jazz improvisation. The system seems to work
well as a different approach to melodic improvisational
analysis. He does not attempt to document Evans*
improvisational style as such, and deals only with the aspect
of melody.
13
Analytical Procedures
This study focused on transcriptions of Bill Evans'
piano inprovisations taken directly frcm records, making
possible a more descriptive analysis of his style.
Specifically, the study documented various inprovisations
frcm different points in his career frcm 1961 to 1979. This
eighteen year time span represents his most creative period
as evidenced by the many awards he received, and the large
number of recordings made.
The examination of the inprovisations includes a
descriptive analysis of basic musical devices such as scales,
melodic patterns, motivic development, chord voicings,
harmonic substitution, and rhythmic patterns and variation.
Also, the overall affect of the improvisation is discussed as
it relates to both the composition as a whole and to the
interaction between members of the ensemble. The pieces
which were transcribed are listed below with the recording
which will be enployed. They reflect a balance between more
traditional jazz standards and Evans* own compositions, and
have been chosen for their uniqueness frcm both a
compositional and iirprovisational point of view. In order to
remove a few variables the list includes only medium terpo
pieces within a piano trio setting, thereby eliminating
ballads and solo piano pieces.
14
Works for Analysis
Composition Album Date

"All of You" Sunday atthe Village 1961
Vanaard (Riverside REP 9376)
"Israel" Trio '65 . 1965

(Verve V6-8613)
"T.T.T." The Bill Evans Album. 1971

(Twelve Tone Tune) (Colunbia C-30855)
"Since Vfe Jfet" Since Wa Mat 1974

(Fantasy F-9501)
"Up With The Lark" The Paris Concert: 1979

Edition.I
(Elektra 60164-1)
The significance of the study is threefold. It adds to
the body of irrprovisational transcriptions already available
which gives the jazz musician or educator a new source of
study materials for either the classroom or the studio.
Secondly, it documents an outstanding jazz pianist's place in
history and prepares for further examination of Evans* vast
output. In addition to representing Evans* style through
these transcriptions, the study reveals similarities and
differences between improvisations at various points of his
career, and relates these findings to his place within an
historical context.
CHAPTER II
ANALYSIS CF W m S
Each transcription in the appendices is prefaced with

a statement of the melody and chord symbols of the
composition so that references to either the melodic or
harmonic structure of the. piece can be made. Both the
melodic and harmonic elements are those of Bill Evans except
where noted. Evans* improvised solo that follows contains
both the right and left hand piano part. As a general rule,
eighth notes should be interpreted as "jazz eighths," meaning
that each pair of eighths is comprised of the first and last
portion of a triplet figure ( J* y I* ). Any obvious
deviation frcm this will be described in the text.' Every
iitprovisational statement or iteration of the formal
structure of the piece in the transcription is marked with
Roman numerals.
In the pieces used for this study Evans utilizes what
jazz writers refer to as the "standard procedure" in
presenting a composition. Frank Tirro describes this common
practice as "playing the melody in its entirety once (twice
if a twelve-measure blues), then following it with several
16
choruses of Improvised solos to the accompaniment of the

rhythm section."! The rhythm section "maintains the
structure of the piece by repeating the harmonic pattern (the
changes) of a complete chorus. "2
Chord substitution, that is, replacing a given
harmonic structure with a completely new one, often times a
tri-tone apart, and the use' of harmonic extensions to
existing chords were favorite devices used by jazz musicians
in the post bebcp period. However, as Joachim Berendt
suggests, these new structures "are not so new that they fail
to indicate in each chord their relationship to the original
harmonies."3 Since Evans uses almost exclusively rootless
chords in his left hand and given the fact that a stated
collection of pitches may imply more than one chord,
difficulty arises -when determining the exact chord intended.
In those cases, a judgement will be made through an analysis
of the bass line at those points in the transcription and
comparing it to the harmony inplied in the original statement
of the piece.
iFrank Tirro, Jazz: A History (New York: W.W. Norton

and Company, Inc., 1977), p. 273.
2lbid.
^Joachim E. Berendt, The Jazz Book, trans. H. and B.

Bredigkeit with Dan Morgenstem (New York: Granada Publishing
Limited, 1983), p. 145.
The chord symbols below refer to the corresponding
harmonic structures:
Gnaj7
0,11117 §=|>f n
Cmin6
07 $=■% II
007 qi ||
".All of You"
The first ' ibed solo is taken frcm the album
Sunday at the Village Vancruard which was recorded on June 25,
1961, at the jazz night club of that name in New York.
Bassist Scott LaFaro and drummer Paul Motian complete the
trio. The form of this thirty-two measure Cole Porter
composition resembles a binary structure (ABA'C) containing
four consecutive phrases each eight measures long. The trio
plays the original statement of the piece with Evans only
occasionally hinting at the melody. He begins his solo by
emphasizing the dominant G with three pick-up notes. LaFaro
responds by playing a dominant pedal through the first three
measures. Indeed, the dominant pedal idea occurs to a
greater or lesser degree each tine the A section returns.
18
Short two and three measure melodic figures

characterize Evans* solo in this piece. In each section of
the first statement of the form he connects several of these
figures to form phrases. The first A section contains
triadic figures superimposed upon the underlying harmony
which/ together with the dominant pedal, creates considerable
tension. The idea for these triadic figures seems to
emanate frcm LaFaro in measure four as he plays two eighth
notes (F and Ab) on the downbeat which is irrmediately
imitated by Evans and expanded into triads.
The melodic segments contained in the B section all
display balanced ascending and descending motion. Each
figure begins with at least one triplet as the line ascends.
In the middle segment (measures thirteen and fourteen) the
eighth-note triplet is rhythmically expanded into two
quarter-note triplets, the first of which is accented by the
use of octaves. The highest sounding pitches, which are
emphasized on strong beats in each of the three segments,
form a descending chromatic line: G in measure ten, F# in
measure thirteen, F in measure fourteen, and E in measure
fifteen. 'While all three segments are related, the last two
are particularly similar through the use of sequential
treatment.
The second A section of the first statement of the
form begins in measure seventeen with a two measure figure in
ascending and descending motion. This time, however, a
sixteenth-note triplet appears as the line descends. In the
first four measure phrase of the solo, beginning in measure
nineteen, Evans emphasizes a short ascending chromatic figure
within the interval' of a major third in the middle measures
of the phrase. Quarter-note, eighth-note and sixteenth-note
triplets are all utilized in this phrase. This section
closes in measures twenty-three and twenty-four with an
ascending scalar line beginning and ending on the pitch A.
This pitch is significant as it is the dominant pedal note of
the underlying harmonic progression E0-A7 which resolves to
Dmin7 in the following measure.
Evans exploits a descending eighth-note triplet figure
in the four measure phrase beginning in measure twenty-five
by contracting and expanding the intervals within each
triplet. Although the motion is generally downward, he uses
subtle changes of direction to provide interest as the line
unfolds. These changes of direction or deflections, as they
will be referred to in this document, are sirrply one note
interuptions in the opposite direction of the general motion
of the line. The phrase beginning in measure twenty-nine is
the only one in the solo so far that demonstrates a
continuous flow of eighth notes. This line, which closes the
first iteration of the form, opens with an ascending chordal
arpeggio followed by a short descending chromatic figure.
Through the use of deflections Evans continues the downward
tendency of the phrase and brings it to a close in measure
thirty-one.
20
The second statement of the f o m opens similarly to

the first with a pick-up measure containing the interval of a
perfect fourth (G to C). At this point, however, Evans
changes the texture through the use of thirds in the right
hand. In the highly syncopated phrase that follows, he
expands the interval to perfect fourths in measure thirty-
four, perfect fifths in measure thirty-five, sixths and tri
tones in measures thirty-six through thirty-eight, and
finally triads for the final measures of the A section.
Evans then returns to the idea of short two measure
figures or phrases in the B section of this iteration. The
underlying staccato chordal punctuations contribute to the
forward momentum of the solo by being struck on the
unaccented portions of the beats. The contour of the first
three figures is relatively balanced between ascending and
descending motion. In the initial segment, beginning in
measure forty-one, Evans* uses Bb as a sort of structural
tone which tends to control the overall pitch range of the
line. In measure forty-three, however, he immediately
displays ascending motion up to an octave by way of chordal
arpeggiation. This is followed in measure forty-five with a
similar figure which ascends even higher by extending the
arpeggio another third. The close relationship between these
three figures is made more acute by the fact that they all
begin in the same part of their respective measures.
Evans moves back to a thicker right hand texture in
the passage beginning at the end of measure forty-seven.
This line initially ascends in scalar fashion with single
notes, but then is expanded into thirds and finally evolves
into second inversion triads in measure forty-nine. It is at
this point that the A section returns and, through this
thicker texture, reminds the listener of the opening of this
statement of the form. The two four-measure phrases in this
section are each rhythmically and melodically cohesive. Both
phrases have a two measure arsis and thesis which are almost
rhythmically identical to each other. In the first phrase
beginning in measure forty-nine, Evans exploits the use of
second inversion triads. He moves away from this texture at
the end of the second phrase through the use of thirds, in
measures fifty-five and fifty-six, providing a kind of
transition into the simpler single note texture which
follows.
Evans concludes the second iteration with a phrase
which spans the entire last eight measures of the form. Once
again, the contour of the line is balanced through almost
equal amounts of ascending and descending motion. The apex
of the phrase is reached in measure sixty after a highly
syncopated ascending line. As the line descends, Evans
ejqpands on the quarter-note triplet by further subdividing
the last note of the triplet in measures sixty-one and sixty-
two. This rhythmic device, coupled with deflections which
effect the overall motion, give the phrase a sense of urgency
as it descends. A two measure extension closes the phrase in
measure sixty-four.
The first A section of the third statement of the form
is characterized once again by short melodic segments. The
first two are related by contour and also by the fact that
Evans begins both with ascending motion ip to a ninth above
the respective starting pitches. He uses a triplet figure in
measure sixty-six to accelerate the descent of the line in
the first segment and a sixteenth-note triplet to generate
upward motion in the second. Beginning in measure sixty-
nine, Evans links together four melodic fragments each one
measure long. Cohesiveness is maintained in these measures
as he uses the second fragment to create sequence. This
material closes the opening section of this iteration.
lYfeterial frcm the previous figures is developed in the
opening measures of the B section, beginning in measure
seventy-three. Evans combines the idiythmic figure ( n >
frcm measure sixty-nine and the interval of a minor third
frcm measure seventy to form a motive which is treated
sequentially in a four measure phrase. He continues the
development of these ideas in the following four measures by
using similar melodic and rhythmic devices initially found in
measure seventy, and carbining segments in a kind of paired
imitation format. In measures seventy-seven and seventy-
eight, each segment begins and ends with an ascending third.
In the following two measures descending motion is
predominant in both figures. Evans begins and ends these
last four measures with similar pitches (the accidentals
acccmodate the underlying harmony).
In the A* section Evans continues his use of short
melodically related segments to form a four measure phrase
(measures eighty-one through eighty-four). Continuity is
maintained through the ejploitation of the interval of a
third and by similar rhythmic patterns. The triplet figures
enhance both upward and downward motion. This particular
phrase begins and ends on the same pitch, Ab. Evans closes
the section by developing the triplet idea in the next four
measures as they appear in sixteenth, eighth, and quarter
note values. The ritardando effect of quarter note triplets
in measures eighty-six through eighty-eight is made more
acute through the chordal punctuations of the left hand.
In measure eighty-nine, Evans begins to close the
third statement of the form by recalling arpeggiated
ascending eighth-note motion found in the opening measures of
this iteration. After a brief chromatic descending line, he
displays short melodic statements, in measures ninety-one and
ninety-two, reminiscent of those found earlier in the
iteration. The last eight measures seem to be a kind of
recapitulation of motivic ideas as Evans utilizes both the
interval of a third and the triplet figure in this material.
The fourth statement of the form begins, in measure

nintety-seven, with a figure that is quite similar to that
which opened the previous iteration. This time, however, it
is raised to a higher pitch and the downward triplet is
truncated into sixteenth-notes. Evans follows this opening
figure by pairing two similar melodic segments that complete
24
the phrase in measure one-hundred. In the final four measure

phrase of the-A section, a descending quarter-note triplet is
followed by an ascending scalar line in eighth-note triplets.
This prepares for further usage of triplet figures in the
first phrase of the B section beginning in measure one-
hundred-five. Evans once again subdivides the last quarter
note of the triplet giving the line impetus as it moves
forward to its conclusion in measure one-hundred-eight. A
four measure phrase, comprised mainly of eighth notes in
balanced ascending and descending motion, concludes this
section. This particular line begins and aids around the
same pitch, G, and shows Evans* craft for melodic balance.
Evans brings the solo to a close in the final sixteen
measures by thickening the texture in the right hand and
slowing down the overall motion through longer note durations
and a high degree of syncopation. This thicker texture was
first manifested in a similar way in the second iteration of
the form. Conversely, the first and third statements contain
all single note lines. This represents another example of
Evans' sense of musical balance and helps give the solo a
feeling of continuity.
As stated earlier, Evans only hints at the melody when
the trio first presents the form of the piece. Perhaps part
of the reason for this is that the harmony he uses is, in
sane respects, quite different, from that usually found in
various lead sheets. Evans exploits the use of a doninant
pedal in the first six measures of both the A and A* sections
in the original statement of the form as well as in all of
the irrprovisational iterations. The feeling of tension is
caused by the use of a Ekmaj7 or Afcmaj7 over the dominant G
pedal tone. The tension is then released, in the following
measure, by either a Qmaj7 or G7. During the course of the
improvisation, Evans sometimes interchanges or substitutes
chords in the "tension" measures. The first example is found
in the fifth measure of the solo. The left hand chord
structure could be interpreted as either a G7(bl3,b9) or a
Eb9 substituting for a Dfcmaj7. This same structure is found
in the previous measure where, according to the original
statement of the piece, a G7 should appear. The tri-tone
relationship is made more acute by the fact that Evans is
arpeggiating a Db major triad in the right hand in these
measures. Similar circumstances exist in measures seventeen,
twenty-one, thirty-seven, forty-nine, fifty-three, sixty-
nine, and eighty-five of the solo.
In measure eighty-one, Evans replaces the Dtmaj7, in
one of the "tension" measures, with an Abmaj7. The fact that
both of these structures have common tones and that the
Afcmaj7 is functioning as a kind of secondary V of V makes
this chord substitution very smooth. Two other chord
substitutions exist in this solo. The dominant function of a
F#07 in measure ninety is replaced with a chromatically
altered E7 which leads, in the following two measures, to
LaFaro*s dominant pedal tone over the progression E0-A7.
Finally, in the last cadential formula of the second
26
iteration, Evans flats the fifth of the Emin7 in measure

sixty-one, transforming the structure to a half-diminshed
chord. The alteration of a dominant seventh chord through
harmonic extension or by chromatic alteration is not unusual
in the jazz idiom nor is it highly significant since the
practice is almost commonplace. However, replacing minor
seventh chords with half-diminished structures is more
unusual. Evans seems to be using this kind of substitution
to create a more colorful sound which, in turn, leads to
greater melodic potentials for the improviser.
Rhythmically the left hand accompaniment is balanced
between longer more sustained sounds and shorter
punctuations. As the solo progresses the left hand becomes
more active and sometimes duplicates the rhythm found in the
right hand. This suggests the chord paralleling style of
George Shearing which was described earlier in the document.
With the exception of the last iteration where Evans
irrprovises chordal ly in the last sixteen measures, he is
fairly consistent in using the same inversion with similar
harmonic elements frcm statement to statement. An
illustration of the types of inversions Evans uses in each
iteration is shown below:
Statement I_ II in M
First Inversion 6 4 4 1
Second Inversion 3 2 5 2
Third Inversion 16 18 18 23
Root Position 5 8 4 6
27
In this particular solo, Evans often superimposes

triads above the underlying harmonic structures which suggest
alterations within the harmony. For example, in measure
fourteen of the solo, a Bb minor triad is arppeggiated above
a harmonic structure of A7 (bl3). The Bb suggests the
chromatic alteration of a flatted ninth in the harmonic
scheme although it is not present in the left hand structure.
These triadic superimpositions are devices used by many jazz
musicians, providing a wealth of melodic material for the
improviser.
Another characteristic of the solo is Evans* melodic
use of the.unaltered ninth on top of a half-diminished chord.
An example of this can be found in measure thirteen of the
improvisation where the F# is emphasized over a Ejf chord.
Evans sometimes brightens the sound of the half-diminished
chord by including the unaltered ninth in the left hand
structure as in measure twenty-four.
"Israel"
John Carisi's "Israel" was recorded by the Bill Evans

Trio on the album Trio *65 (Verve VC-8613). The other
members of the group are Chuck Israels on bass and drummer
Larry Bunker. The piece was written for the Miles Davis
group which recorded the Birth of the Cool album in 1949-50.
It was previously recorded by a different Bill Evans Trio in
1961. It is not unusual to see the same piece appear in
28
various Evans' recordings. Each rendition has its own

uniqueness, not only because of the different personnel, but
also frcm the time, place, and circumstances in which it was
recorded.
The form of this composition is a twelve bar blues
progression, or miniature three part form. The piece is in
the. key of D minor and the melody is highly syncopated and
angular. Evans begins the first phrase of the improvisation
with an upward arpeggiation of the tonic chord up to the
ninth. After an upper neighbor tone, a descending sixteenth-
note triplet begins downward eighth-note motion. The phrase
concludes with an eighth-note triplet followed by two
eighths. The structure of this phrase is balanced by a
rising and falling of the line with both the beginning and
ending pitch being A.
Evans* second phrase, beginning at the end of measure
four, is similar to the first in that it is four measures
long and is characterized by balanced ascending and
descending motion. The line is embellished by a deflection,
or sudden change of direction, which creates greater interest
and also extends the eighth-note motion. These deflections
occur in measure five and six and give the phrase a sense of
urgency as it ascends. The line ends with four sixteenth-
note groupings each ascending by themselves but the beginning
note of each group is in a descending pattern (A, G, F, E,
D), the first five degrees of the D minor scale.
29
The phrase beginning in measure nine is another

example of balanced ascending and descending motion. The
similarity between this line and the opening phrase is
striking in several respects. Both the beginning and ending
pitches are the same within each phrase, each opens with a
chordal arpeggiation, and both have triplet figures as the
lines descend. A syncopated two measure transitory phrase,
bridging the first and second statements of the form of the
composition, is found in measures twelve and thirteen.
The phrase which begins in measure fourteen is a full
twelve measures long extending into the first measure of the
third statement of the form. An ascending triplet initiates
the phrase and is followed by descending motion. A
comparison of the last half of measures two and fourteen
reveals a similar descending pattern with only the note C
being different. In measure fifteen a descending rhythmic
motive ( n 3 ), stated initially at the end of previous
phrase, is developed through its displacement in various
parts of the following measures. Through this motivic
rhythmic displacement and deflections of the overall motion
of the line, a high degree of syncopated tension is achieved
and is highlighted by the rhythmic punctuations of the left
hand. Evans completes the phrase by extending the sixteenth-
note motion into three descending quintuplet figures followed
by a group of four sixteenths each beginning on pitches a
minor third above each other. This particular rhythmic idea
is almost a mirror image of that found in measures seven and
30
eight, giving the second iteration its own uniqueness, yet

maintaining continuity in the overall context of the
improvisation. An •examination of the beginning pitches of
these descending figures starting with the A natural at the
end of measure sixteen through measure eighteen reveals the
arpeggiation of a diminished seventh chord which colors the
underlying harmony of A7 (b9). Measure nineteen is the mid
point of this phrase as Evans abandons the more complex
rhythms and develops a continuous flow of eighth notes to
finish the line. The ascending arpeggiated figure in measure
twenty-three recalls similar material found in measures one
and nine.'
The third and fourth statements of the form differ

frcm the first two mainly in their rhythmic content. A three
measure phrase starting in measure twenty-six begins and ends
with quarter-note arppegiations which surround eighth-note
motion that is deflected twice. Evans elaborates on the
quarter-note values in the following phrase by arpeggiating
them in triplets and then duplicating that rhythm in the left
hand chordal accompaniment.
The phrase beginning in measure thirty-one opens with
sequential treatment of the-descending arpeggiated figure
found at the tail of the previous phrase, however, the rhythm
is truncated. This particular line is interrupted by two and
one-half~beats of rest and closes with a short eighth-note
extension. Evans seems to always be aware of the harmonic
implications of the form and avoids beginning or ending
31
phrases in the middle of a II-V-I chord progression. He
demonstrates this by choosing not to end this phrase on E0,
but waits-till the ultimate resolution to Emin7 in measure
thirty-five.
Another transitory phrase, bridging the third and
fourth statements of the form, begins in the last half of
measure thirty-five and is characterized by a rhythmic motive
< n ). Evans utilizes mainly descending thirds within
this rhythmic framework and, as the phrase unfolds, the
motive is rhythmically inverted providing an interesting
twist of the overall motion. The left hand becomes more
active by supplying harmonic support on every quarter-note
beat. Indeed, this kind of harmonic support permeates
throughout the last two iterations. Eighth-note motion
predominates the next phrase beginning in measure thirty-
nine. The pitch range of the line is an octave, D to D, and
Evans balances the phrase by using A, the middle note of the
octave, as the beginning and ending pitch. He finishes the
improvisation by ejpanding on the quarter-note triplet figure
found earlier in the solo. The motion of this phrase, which
begins in measure forty-four, is downward and balances the
ascending figure found at the beginning of the solo. The
final chords in the last three measures serve as a kind of
link between the piano solo and the bass solo which follows.
Several observations can be made regarding the
relationship of the original melody to this particular
irrprovisation. The descending triplet found in measure two
of the melody seems to be a motive that Evans develops.
There are eleven descending and five ascending triplet
figures in the solo. The significant difference between
ascending and descending triplets could perhaps be
coincidental and indeed may be a device Evans uses simply to
keep linear motion moving forward. The use of quarter-note
triplets and their relationship to the melody is more
significant as the melody contains this rhythmic device '16%
of the time while Evans uses it 10%, both similarly small
percentages of the total.
Although "Israel" is a blues form Evans uses the D
blues scale (D, F, G, Ab, A, C) only once during the
irrprovisation. The figure at measure twenty-three through
twenty-five is a typical blues phrase and is located exactly
at the mid-point of the solo. The scale that appears with
much more regularity is the hal f/whole-step diminished scale.
This particular scalar arrangement is used over dominant
seventh chord types because each note either highlights
altered tones of the chord or delineates basic chord tones.
For example, this scale beginning on A natural is spelled A,
V
Ha, C, C#, D#, E, F#, G. Superimposed on an A7 chord, these
notes generate the root, b9, #9, third, b5 (#4), fifth,
thirteenth and seventh. Evans uses fragments of this scale
numerous times: measures six through seven, ten, fourteen
through eighteen, twenty-two, thirty-four, and forty-six. He
is most consistent in utilizing the scale in the tenth
33
measure of each statement where the dcminant seventh chord is

presented in the final cadence of the harmonic scheme.
Evans* rhythmic use of the left hand in this
improvisation is on a continuum frcm passive to active. He
uses mainly long note values to begin the solo then accents
the syncopation found in the right hand in the second
statement of the form. In the last two iterations the left
hand chords provide a fuller overall sound by being struck on
strong beats and in seme cases, every quarter-note value in a
measure.
An illustration of the types of inversions Evans uses
in each iteration is shown below:
Statement I II III M
First Inversion 6 9 7 1
Second Inversion 1 1 1 1
Third Inversion 3 3 4 5
Others 3 3 3 3
Although Evans is fairly consistent in the types of

harmonic structures he uses within each statement of the form
there are a few chords with altered and/or added tones that
need to be mentioned. As ambiguous as it may seem, the
simply stated B natural in measure three is an example of his
use of brevity to delineate a certain harmony. Evans is
playing upon the listener’s tonal memory to ascertain the
other pitches of that particular chord. The three-note
structure in measure five, a Gmn9, is interesting for its
lack of a seventh and the fact that the ninth is the lowest
34
element of the chord. At this point in the solo the ninth

(A) is stressed not only in the lowest sounding note of the
chord but also in the right hand. Evans adds a bl3 and
alternates between a b9 and a #9 on the D7 chord in measures
fifteen and sixteen. This suggests a great deal of tension
and correlates well with the development found in the right
hand. An interesting but not atypical chord substitution is
found in measure twenty-six where an altered A7 is
substituted for Emin (b6). This dcminant seventh, extended an
extra measure, gives a strong sense of resolution to the
Emin7 which follows.
Evans is most consistent in the eighth measure of each
iteration where he uses a F6, spelled A, C, D, F, instead of
an Emaj7. This may be an attempt at chord substitution or it
may be a conscious effort to accentuate the sixth within the
context of an Fmaj7 chord. When the chord is presented in
each iteration, Evans spells it A, Bb, D, F#. This voicing
accentuates both the unaltered ninth and, by utilizing the
interval of a minor second, the flatted fifth.
"T.T.T. (Twelve Tone Tune)w

As the name implies, this Bill Evans composition is
based on a twelve tone row and was recorded on the Grammy
Award wanning album, The Bill Evans Album in 1971. Evans'
supporting musicians on this recording are Eddie Gomez on
bass and drummer Mferty Morrell. Since Evans studied
composition on the university level it does not seem unusual
35
that he has applied the dodecaphonic technique in sane of his

writing. In the field of jazz, however, the twelve tone row
has not been utilized much at all. This is probably due to
the close relationship of the improviser to the harmonic
content of a composition and the fact that dodecaphonic
writing tends to break down traditional harmony. In the
liner notes to this album, Evans states; "I wouldn’t want to
base a composition on it (twelve tone) except as a challenge.
The whole challenge of it is to find a row and use it in such
a way that it fits a traditional harmonic form and the sound
of j a z z . "4 in the initial statement of the piece, the row
is presented three times in its original form but with
various octave displacements. "Twelve Tone Tune" is a twelve
bar form but is not blues oriented. Indeed, the harmony is
rather complicated and contains numerous II-V implications
which do not resolve to I. Interestingly, the final chord is
a fully diminished seventh which tends to weaken a tonal
center as do the melodic implications in the dodecaphonic
technique. While Evans uses the serial technique in the
construction of the melody, the piece is not atonal.
After a pick-up measure, Evans begins the first of
eight irprovisational statements of the form with a
descending line panning an octave C to C in the rhythmic
pattern ( J- ). Beginning in measure three, a two measure
^Binkley, Fred. Liner notes from The Bill Evans

Album: (Columbia 030855), 1971.
36
balanced ascending and descending line emerges in an eighth-

note pattern. The descent is hastened by a sixteenth-note
triplet as the figure settles on the same two notes found in
the end of measure two. At this point and in similar
fashion, ■Evans develops another eighth-note pattern in
ascending and descending motion. This time, however, the
descent is more chromatic in nature. The rhythmic pattern is
changed, in the phrase found at the end of this first
statement, by the use of eighth-note triplets which quickly
ascend in measures nine and ten to the apex of the- iteration
in measure eleven. Chromaticism is hinted at again in the
sixteenth-notes which are interspersed among the general
eighth-note pattern as the line descends and brings the first
statement to a close.
Evans develops short triadic figures in the second
iteration. The idea for this first surfaces in measures
fourteen and fifteen within the context of quarter-note
triplets. These triplets are quickly abandoned in favor of
an eighth-note triadic motive that he treats sequentially in
the next few measures. The third leg of the sequence is
extended, in measures eighteen through twenty-one, by
descending triadic figures which are not separated by rests
giving the line a rippling effect. Evans makes use of this
motive at the outset of the next phrase which begins in
measure twenty-two, and then completes the line with melodic
material similar to that found at the end of the first
iteration. This recapitulation of material suggests a sense
of continuity as the solo evolves. Also, by extending this
phrase into the first measure of the next statement of the
form, Evans seems to break down the formal structure that the
harmony implies.
A balanced ascending and descending scalar line in
eighth-note triplets is displayed beginning in measure
twenty-six. The apex of this figure is reached on the second
beat of. measure twenty-seven and then the line descends to
the lowest note yet played in tie right hand part of the
improvisation at measure twenty-nine. At this point Evans
develops and sequences a one measure motive which is
considerably more angular in nature than any figure yet
displayed. The texture in the right hand becomes thicker
through the use of a sixth in measure thirty, triads in
measures thiry-one through thirty-three, and finally seventh
chords in the last three measures of the iteration.
Beginning in measure thirty-three, Evans intensifies this
thicker texture by employing a high degree of synccpation
which, in turn, provides tension and a feeling of instability
at the end of this statement of the form.
Up to these last measures Evans has used almost
exclusively two-note vertical structures in the left hand
emphasizing the third and seventh of the underlying harmony.
Evans deviates frcm these structures by emphasizing the root
and seventh and then expanding that to three-note chords
which help create the tension just described. He reverts to
38
two-note chords as the iirprovisation continues into the next

iteration of the form.
Triadic figures, initially developed in the second
formal statement, again provide the melodic material that
Evans manipulates in the fourth iteration. The opening
material begins on the highest pitch found in the
iirprovisation thus far and is a kind of extension of the
material found in the previous measures. This phrase extends
two octaves downward and is displaced over three measures.
The line is deflected twice and is enhanced by two eighth-
note triplets which help to move the phrase forward. In
measure forty, the triadic material is changed into upward
arppeggiations of seventh and ninth chords stperirrposed upon
the harmony. This idea is repeated in measure forty-one and
then again in measures forty-three through forty-five in a
more truncated rhythm. Evans then retrogresses to descending
triadic figures in the context of eighth-note triplets to
close this iteration. Evans' linear strategy, within the
confines of triadic material, is ascending motion in the
middle and balancing that with descending motion to open and
close the statement of the form.
The fifth iteration begins in measure forty-nine with
an ascending chromatic scalar line, the tail of which becomes
a motive Evans develops in the following few measures.
Interestingly, the note that begins this scalar figure, F#,
is the lowest pitch in the iirprovisation. This pitch is also
contained in the middle of the third iteration and both times
39
the note has been at the end of a descending eighth-note

triplet figure. The four-note motive found at the tail of
the phrase in measure fifty-one is treated sequentially in
the next five measures, sometimes with two and three-note
extensions, and is displaced at different points within the
measures.
Beginning in measure fifty-seven, Evans develops a
long phrase which extends into the fifth measure of the sixth
iteration. The motive that holds this line together is a
descending eighth-note triadic triplet followed by two
repeated eighths. This motive, initiated in measure fifty-
eight, is treated sequentially and reaches a high point at
the end of measure sixty-one. Evans thickens the texture as
the line unfolds through the use of triads and then open
fifths on the repeated eighth-note portion of the motive.
This particular line is rhythmically intriguing in the fact
that, up to this point in the solo, eighth-note triplets,
contained within the context of normal eighth-note motion,
have usually fallen on beats two or four. This time,
however, Evans places the triplets squarely on beats one and
three which seems to interupt the flow of the line.
Additionally, Evans introduces syncopation and replaces the
triplets with an eighth and two sixteenth-note pattern in
measure sixty-two. Indeed, he obliterates the pattern
altogether in measure sixty-three by placing a triplet on
beat two and utilizing the two sixteenth-note idea on beat
three. This material seems to be the high point of the
40
iirprovisation thus far and is placed approximately two-thirds

of the way through the solo.
Two short phrases, motivically linked by identical
rhythms at their tails, follow in measures sixty-four through
sixty-seven. It seems at this point that Evans is searching
for material to develop as he follows these measures with a
line that initially contains the kind of triadic motives
found earlier in the solo. He then transforms the triadic
material into descending thirds in measures seventy through
seventy-two as the sixth iteration comes to a close.
In the first four measures of the seventh statement,
Evans immediately thins the texture by utilizing syncopation
and judicious use of eighth-note rests in a single note line.
Beginning in measure seventy-eight he goes back to the idea
of thirds found at the end of the last iteration and develops
them in an ascending fashion. At first they appear as
quarter-notes but then Evans literally heightens their effect
via quarter-note triplets and ascends the line to its apex on
the downbeat of measure eighty-five, the beginning of the
eighth and last statement of the form. The rhythm, in this
measure is identical to that found in measures sixty-five and
sixty-seven. Indeed, Evans seems to be keenly aware of what
has gone on previously as he links together material played
earlier in the iirprovisation.
In the concluding statement, he utilizes a chromatic
descending line in measures eighty-six through eighty-nine to
bring the register of the right hand down. Evans then links
41
three important components of the iirprovisation together in

the span of six measures beginning in eighty-nine: syncopated
descending triadic figures (eighty-nine through ninety-one),
descending triadic eighth-note triplets (ninety-two), and
thirds, this time a tenth apart (ninety-three and ninety-
four) . These six measures seem to be a kind of recap of the
ideas presented in the solo and give the iirprovisation a real
sense of continuity.
There is no real harmonic substitution in this
iirprovisation which is due in no small part to the fact that
Evans conceived the harmony of the composition from a jazz
irrproviser's viewpoint. The uniqueness of the left hand
acccnpaniment lies in its clarity and understatement. With
only two exceptions, every left hand structure contains two
and sometimes only one pitch. Of the one hundred and fifty-
two harmonic changes contained in the eight statements of the
form, one hundred and thirty-two contain the third and the
seventh. When there is only one pitch in the left hand
acccnpaniment it is always the seventh of the chord. Eight
times Evans plays the root and seventh underneath. Indeed,
in almost every instance the seventh is present in the
harmony.
Equally consistent in this solo is the rhythmic
content of the left hand acccnpaniment. There is a.balance
between long, sustained sounds and shorter syncopated
puncuations throughout the iirprovisation. The chord

paralleling technique does not appear in this solo and the
left hand does not get more active as the iirprovisation
evolves. This is probably due to the technical difficulty of
the right hand part Which seems to demand most of Evans*
attention.
"Since Vfe Mat"

Recorded at the Village Vanguard in New York City in
January of 1974, "Since Vfe Met" is another Bill Evans
composition and features bassist Eddie Gamez and fcferty Morell
on drums. The forty measure conposition resembles a kind of
•three-part form (ABA*) with an eight measure B segment
surrounded by the two A sections, each sixteen measures long.
The melodic and harmonic structure of the piece has not been
published therefore the lead sheet had to be transcribed from
this recording. Since Evans uses such rubato and freedom
when stating the piece at the onset of the recording,
difficulty arises When trying to transcribe the melodic and
harmonic elements. Decisions were made sometimes by
analyzing the iirprovisation to ascertain certain harmonic
elements. Evans uses more harmonic changes during the solo
as compared to his initial statement of the theme. These
will be discussed later in the text.
The piece begins with Evans irtprovising over II-V
progressions centered on the harmonies found in the B section
with the other members of the trio accompanying. This short
opening introductory section is in triple meter and is
followed by the original statement of the theme by Evans
43
alone. After this initial statement, he continues the
texture of solo piano by irrprovising over the entire form
without any acccnpaniment.
Although Evans displays a more or less continuous flow
of melodic ideas with few rests throughout the solo, the
style is very relaxed. So clear are his ideas that one does
not seem to miss the rhythm section at all. The spontaneous
applause given Evans by the patrons of the club at the end of
the first irrprovisational statement attests to this. The
relaxed feeling of the first iteration is carried over to the
rest o f the solo by the rhythm section through the use of
brushes rather than sticks by Morell, and Gamez's playing
generally quarter notes on beats one and three ("two-beat")
rather than quarter notes on every beat ("walking bass") •
Evans' melodic playing in’this first iteration is very
difficult to break down into phrases since his ideas seem to
flow together so smoothly and logically. A characteristic
rhythmic motive that occurs somewhat regularly is a dotted
quarter note on the downbeat of a measure followed by eighth-
note motion. This idea occurs in measures one, three, five,
ten, twenty-one, twenty-three, twenty-nine, thirty-four,
thirty-five, end thirty-eight of this iteration and seems to
subtlely but briefly slow down the overall motion of the
melodic material. .In the A section of the statement Evans
seems to break the sixteen measures into two eight-measure
melodic segments. The first can be further divided into two
four-measure groupings each beginning with similar rhythmic
and melodic ideas but starting on different pitches; G in
measure one and E in measure five. In the first four
measures the line descends in a rather syncopated fashion an
octave and a fourth before leading back up to measure five.
The pick-rp measure which begins the solo is very similar to
the figure in measure four, that is, predominately ascending
thirds. The melodic segment found in measures five through
eight does not deviate in pitch nearly as dramatically as the
first segment and is a kind of response to the opening four
measures. In the last half of the first A section, Evans
begins with the same rhythmic motive found in measure one but
then displays more continuous eighth-note motion first
chromatically in measure twelve, then more diatonically
beginning in measure thirteen. This line has numerous
deflections and overlaps into the B section which begins in
measure seventeen.
Although visually there is a continuous flow of notes
into the B section of the first iteration, Evans pairs
together melodic ideas each two measures long, beginning in
measure seventeen, which correspond-to the sequential II-V
harmonic scheme of that section of the piece. There are two
of these pairings and each one contains a two measure aris
segment followed by a thesis segment of the same length. In
the first pairing, measures seventeen through twenty, Evans
uses similar contour in each of the segments. However, the
arsis contains predominantly upward motion and the thesis has
more downward motion. In the second pairing, measures
45
twenty-one through twenty-four, the arsis segment is rather

stationary through the quarter-note repetition of the pitch
F. This prepares the listener for the corresponding thesis
segment which has more motion and leads to the A* section of
this first iteration of the form.
In measure twenty-five Evans arpeggiates a E07 chord
up two octaves and reaches the highest pitch yet displayed in
the solo. This arpeggio is initiated fcy an eighth-note
triplet which gives the line impetus as it quickly moves
upward. The uppermost note of this phrase, E, also is held
for the longest duration as the line then falls slowly at
first with quarter notes, then eighths, sixteenths, and
finally eighth-note triplets. The descent of this particular
melodic idea is spread over three measures as Evans displays
chromaticism over the Bjf chord in measure twenty-seven and a
diminished scale over the altered E7 in measure twenty-eight.
The final note of this four measure phrase is G, the lowest
pitch contained in the A* section.
The next phrase of this section is also four measures
in length and, through the use of eighth-note and eighth-note
triplet rhythms combined with numerous deflections of the
overall motion of the line, Evans moves the tessitura back to
the pitch Which originally began the A' section. This phrase
starkly contrasts the previous one as it spans the interval
of a tenth as compared to the range of two octaves and a
sixth. In the final eight measures of this iteration, Evans
slows down the rhythmic motion through the use of longer note
46
values. This deceleration is made more acute by the

sequential treatment of a descending triad found in measures
thirty-five through thirty-seven and the fact that LaFaro
joins Evans by playing a dominant pedal G. The short,
chromatic oriented line in measures thirty-eight through
forty not only closes this first statement of the form but
also serves as a kind of prelude to Morell’s entrance as the
next iteration begins.
Evans once again displays balanced phrasing in the
first eight measures of the second statement of the form.
Both of the four measure phrases have definite arsis and
thesis statements. .In each case, the aris portion begins
with descending quarter notes for one measure and then Evans
truncates that rhythm into eighth notes and eighth-note
triplets for a measure. The thesis portions are both
generally ascending, however, the first (measures forty-three
and forty-four), is a diminished scale pattern in eighth
notes while the second (measures forty-six and forty-seven)
is more chromatic in-nature within the context of eighth-note
triplets. These triplets serve as a prelude for the next
phrase which spans the final eight measures of this A
section. In this phrase, beginning at the end of measure
forty-nine, Evans utilizes sixteenth-notes in pairs and also
in a-triplet to keep the forward motion going. The apex of
the line is found in measure fifty-four. Evans accents this
pitch, E, by striking it in an octave configuration and also
• 47
through the syncopated, ascending quarter notes which lead up

to it.
The B section of this iteration contains three
phrases, the first .two of which are once again paired
together in an arsis/thesis format. The first of these,
measures fifty-seven and fifty-eight, ends with an ascending
interval of a sixth. The second of the paired phrases
closes, in measure sixty-one, with a descending fourth. The
dotted quarter note on the down beat, a rhythmic motive so
prevalent in the first statement, is the rhythm found in the
opening and closing measures of this pair of phrases. Evans
concludes the B section of this iteration with a* three
measure phrase which contains fairly equal amounts of
ascending and descending motion. The line begins with a
rapid chordal arpeggiation in eighth-note triplets, both
ascending and descending, and is followed by eighth note
motion. .The use of deflections in the tail of the phrase
give the line interest.
The descending triad motive which was given sequential
treatment at the end of the first statement of the form is
used again in similar fashion at this point in the
iirprovisation. In measure sixty-five, this particular
melodic motive is sounded ,and then rhythmically displaced in
various parts of the following .measures. When Evans reaches
the highest pitch yet heard in the solo in measure sixty-
seven, the melodic motive is transformed into a rhythmic
motive ( n m ) as the line descends. He uses this
48
rhythmic idea through measure seventy and then finishes the

phrase with eighth-note motion. The use of octaves to stress
certain notes is made more acute by the syncopation in
measures seventy-two through seventy-four. The- final phrase
of this iteration, beginning in measure seventy-five, is a
subtle summation of material found earlier in the solo.
Eighth-note triplets (measure seventy-six), a truncated
descending triad (measure seventy-seven), the aforementioned
rhythmic motive (measure seventy-eight), and the uses of
deflections in the overall motion help give the solo
continuity and cohesion up to this point.
Evans begins the last statement of the form similarly
to the first from a rhythmic point of view. The difference
is in texture as he chooses to display thirds in the right
hand as this last iteration begins. Evans follows these
opening measures (eighty-one and eighty-two) with a short,
two-measure melodic segment which begins and ends on the same
pitch. This melodic fragment is comprised mainly of triplets
in both eighth-note and sixteenth-note configurations.
Accentuation of certain pitches, in this case C, is made by
the striking of octaves. .In the next phrase, Evans briefly
reverts back to the texture of thirds in measure eighty-six
and completes the line through the use of alternating
ascending and descending motion utilizing both sixteenth and
eighth-note triplets.
In the final eight measures of this A section Evans
utilizies rests, in measures ninety and ninety-three, to
49
separate melcdic ideas and to slow down the overall motion of

the solo. The first melodic fragment, measures eighty-nine
and ninety, could almost be described as the tail of the
previous phrase as Evans extends that line through the II-V
harmonic duplication. The half-note rest separates this
fragment from the following material which gives further
indication of its position in the previous phrase. In the
melodic fragment found in measures ninety-one and ninety-two,
Evans balances a syncopated, ascending quarter-note
arpeggiation with descending eighth-note motion. Following
the rest, the next phrase displays the same kind of balanced
contour of line this time, however, -the syncopation is spread
over all three measures.
In the previous two formal statements, Evans has used
paired melodic phrases in the B section of the form. As
discussed earlier, these melodic segments corresponded with
the II-V-I harmonic inplications contained in this section of
the form. However, •in this iteration, Evans is much more
aggressive over these harmonies and uses all eight measures
to display one phrase. The line begins, in measure ninety-
seven, with an upward arpeggiation in eighth-note triplets
which initiates momentum. The contour of the line rises and
falls on five different occassions. The listener is kept off
balance by the fact that the apex of each contour never
successively falls on the same portion of the beat. Indeed,
with the exception of measure one-hundred, where it is on
beat two, all'of the contour's apexes are on weak portions of
50
the beat. The phrase contains mainly eighth-note motion but

Evans uses the rhythmic grouping ( JT3 ) four times
which seem to keep the line moving forward. There is a
balance between the use of chrcmaticism and triadic
arpeggiations.
The melodic material found in measures one-hundreds
five and one-hundred-six is a tail to the aforementioned
phrase and it functions as a kind of decelerando to that
material. This is accomplished rhythmically through the use
of quarter-note triplets and melodically by the movement of
the pitches Db to C. The Db serves as a kind of "upper
leading tone" to the C and both pitches are accented in
octaves. Evans reverts to the descending triadic motive
beginning in measure one-hundred-seven and develops the idea
sequentially in the rhythmic framework of four sixteenth-note
groupings for three full'measures.
There are four melodic phrases or segments in the last
ten measures of this last iteration and each one
recapitulates material found earlier in the solo. The first,
measure one-hundred-eleven through the first half of one-
hundred-thirteen, opens with the previously developed
descending triad motive and closes with a highly chromatic
line highlighted by the rhythmic motive ( m ). In
the short melodic fragment which begins in the last half of
measure one-hundred-thirteen, Evans returns to the texture of
thirds, albeit briefly. His sense of balanced ascending and
descending motion is evident in the following two measure
fragment beginning in measure one-hundred-fifteen.. The line
opens with the pitch G#, ascends the interval- of a ninth, and
returns in eighth-note triplets to G. This another example
of the "upper leading tone" idea. Evans finishes the solo,
in the last four measures, by slowing down the rhythmic
motion through the utilization of quarter-note triplets and
texturally enhances this decelerando through the use of
fifths and sixths in the right hand. The uppermost portions
of these triplets are accented two-thirds of the time by
harmonic structures in the left hand. Evans presents, in the
last measure, a good example of a hemiola which strengthens
the final cadential statement.
The triadic motive that Evans uses and develops in the
iirprovisation is really the only link between solo and the
melody of the composition. The motive is found in the B
section of the theme as Evans actually extends -it upward
another third and treats it sequentially. It is also found
in the thirty-seventh measure of the melody in descending
eighth notes.
The improvisation is much more harmonically complex as
compared to the materials that Evans displays in the original
statement of the theme. This complexity is caused not so
much through alterations of existing chords as it is by the
insertion of. additional harmonic- structures that enhance the
overall harmonic motion. One of the ways that Evans
accomplishes this is by preceding a given harmony with a
chord whose root is a half-step above. The first example of
this kind of harmonic addition is found in the second measure
of the solo where a Gnin9, spelled with only the ninth,
third, and fifth, is inserted before the B^. This particular
arrangement of harmonic elements in a minor ninth chord is a
favorite structure of Evans*. A very similar situation
occurs in measure sixteen where a Atmin9 is inserted before a
Qnin9. Both of these structures have that same arrangement
of pitches. The final examples of this particular kind of
harmonic addition are found in measures twenty-six and sixty-
six where the Bjf is preceded by a Cmin7. The arrangement of
harmonic elements is different frcm the first two examples
even though, in both cases, the B0 is the chord that is being
enhanced.
Numerous times in this iirprovisation Evans precedes a
dominant seventh chord with a minor seventh structure a
perfect fourth below thus completing the II-V harmonic
movement. The examples occur in measures thirteen, fifteen,
sixteen, thirty-eight, fifty-three, fifty-five, fifty-six,
seventy-eight, ninety-three, ninety-five, ninety-six, and
one-hundred-eighteen. In all three irrprovisational
statements of the form Evans makes these additions to
dominant seventh chords just before the B section. He seems
to be preparing the listener for this middle section which
is, in itself, a series of II-V implications.
Evans displays a slightly different kind of harmonic
addition through his treatment of measures that have a Emin7
as its basic structure as presented in the statement of the
53
theme. That particular chord is.followed by a E7 in measures

nine, thirty-three, eighty-nine, and one-hundred-thirteen.
In each case the intent is to make a stronger resolution to
the Amin? which follows. The other way in which Evans makes
this resolution clearer is by replacing the Emin7 with a
followed by E7. This situation occurs in measures forty-nine
and seventy-three. .
The last harmonic deviation is displayed in the fifth
to the last measure of each statement of the form where Evans
replaces the Ab7 with a F#pf. Both of these chords function
in the same way, that is, as a strong harmonic approach to
the final cadential formula.
Evans* use of the left hand in this solo is
rhythmically very consistent; Most of the time the harmonic
structures fall on weak portions of the beat. He generally
uses longer durations when the right hand becomes
rhythmically more active. There is no evidence of chord
paralleling in this solo. An illustration of the; types of
inversions Evans uses in each iteration is shown below:
Statement I_ II m
Root Position 10 5 6
First Inversion 20 19 20
Second Inversion 1 1 1
Third Diversion 16 16 14
Others 9 8 7
"03 With The Lark"

The last iirprovisation to be discussed in this
document is based on Jerome Kern's "Up With The Lark" which
54
was part of a recorded concert in Paris on November 26, 1979.

The other musicians heard on this album are bassist fcferc
Johnson and Joe LaBarbera on drums. This was the last trio
that Evans worked with before his death a year later. There
are seven eight-measure phrases in this piece arid their
configuration suggests a kind of three-part form;
A(ab)B(a*cd)A* (a* *e). After a short rubato piano
introduction, bassist Johnson joins in for the original
statement of the theme which Evans treats rather freely. By
having the drums tacet throughout the entire piece, Evans
displays a different kind of orchestration within the trio
format and this, in turn, gives the solo a distinct quality.
Furthermore, unlike the previous expositions discussed in
the document, this piece is in 3/4 meter.
Evans displays, in the first improvisational statement
of the form, one of the key elements of this improvisation,
syncopation. The first melodic idea encompasses the whole A
section and, with the exception of measure sixteen, a high
degree of syncopation is displayed throughout the phrase.
This rhythmic complexity is enhanced by the use of quarter-
note triplets in measures five through nine. Besides
syncopation, two other important elements are initially
displayed in the first measure; the interval of a sixth and
the use of a dominant structural pedal tone (the pitch G in
the first phrase). The range of the right hand part
gradually,moves upward from the opening measure as Evans
espands and contracts the interval of a sixth while most of
55
the time maintaining the pitch G as a pedal. 'By measure

nine, the tessitura has been raised exactly one octave as
Evans continues the upward movement. The pedal G is not as
prominent in the last half of the phrase although it appears
in measures ten and eleven with the interval of a sixth
inverted to a third. The apex of the line is found in
measure fourteen and.is followed in the next two measures by
generally downward motion. This contrasts to the material
presented up to that point and gives a sense of relief frcm
the constant shifting upward-downward motion.
In the next phrase, beginning in measure seventeen,
Evans uses the pitch G once again as a structural tone frcm
which he continues lowering the register by reversing the
procedures found in the first phrase. The first interval in
that measure is a third and is expanded chromatically
downward through measure twenty-six. Evans maintains G as
the uppermost pitch for four measures, however, as the phrase
continues moving downward, the top note shifts, for much
shorter durations, to D, C#, B, G#, F#, E, and D#. The
interval of a sixth is prominent again as it appears in
measures nineteen through twenty-six. He uses the strong
cadence that resolves to E major in measures twenty-seven and
twenty-eight as a place for a phrase extension. The melodic
material is not syncopated and the chromatic intervallic
leaps are abandoned in favor of scalar motion.
Evans divides measures twenty-nine through forty into
three, four-measure segments each corresponding to the
56
harmonic movement indigenous to this portion of the

composition. .Each segment begins with the same kind of
syncopated ieaps found earlier in the solo and ends with
descending eighth-note motion. The register is raised at the
beginning of each succeeding segment with the apex found in
measure thirty-seven. The- overall motion of this material is
well balanced as the line gradually ascends to the apex and
then descends to the same general pitch area found in measure
twenty-nine. Evans introduces the eighth-note triplet within
the melodic framework of a triad in measure thirty-nine.
While this motive is not developed in this statement of the
form it will become increasingly significant in the following
iterations and should be noted at this time.
In measures forty-one through forty-eight, Evans
alternates between two measures of ascending syncopated leaps
followed by two measures of generally descending eighth-note
motion. His sense of melodic balance is evident and there is
significantly more use of triads as this phrase develops. A
two-measure motive, is treated sequentially in the final eight
measures of this formal statement (measures forty-nine
through fifty-six). In the last two legs of the sequence the
pitch level -is raised and its effect is enhanced by the use
of thirds.
Almost all of the material that Evans develops in the
second iteration of the form emanates frcm the triad. With
only one exception, the pitch order of the motive is third-
fifth-root. Evans begins the iteration by presenting this
57
motive in measure fifty-seven and then sequencing it downward
for the next three measures utilizing the last pitch of a
triad as the initial pitch of the next. He links the motives
together in similar fashion fairly consistently throughout
this statement of the form. In the last twelve measures of
the A section (sixty-one through seventy-two), Evans presents
two six-measure phrases or segments. Each begins with the
triadic motive in descending motion and ends with the motive
in eighth-note triplets. The two segments are related
melodically and rhythmically and indeed, both begin with
identical triads.
In the B section of this statement, which begins in
measure seventy-three, Evans carbines the highly angular,
syncopated material developed in the first iteration with the
triadic triplet material just described. He presents fairly
equal amounts of both kinds of material in each of the four
segments contained in this section of the piece but this
balance is offset by the irregular length of the segments.
The first two are five measures each, the third is four
measures in length, and the last is a full ten measures. The
register leaches a high point in the final segment at measure
ninety-two and Evans then uses triplets in the following
measures to advance the descent of the line.
The A* section of the iteration begins, in measure
ninety-seven, with the same opening pitches and interval
found at the beginning of the solo. The syncopated material
continues for four measures and is followed by an equal
58
number of triads in the triplet, format. Evans completes this

iteration by re-introducing the pitch G as a dominant pedal
tone in the final eight measure phrase. The pedal tone,
combined with the highly syncopated rhythm of the line,
heightens the anticipation of the final cadence. The
interval of a sixth is also very prominent as it appears in
four of these measures and helps give cohesion and continuity
to the solo.
In the final statement of the form, Evans changes the
texture of the right hand frcm a predominantly single voice
line to thirds. He introduces this change in the last
measure of the previous iteration and uses this thicker
texture in the opening and closing sections of this
statement. "Up to this point in the iirprovisation, the
interval of a sixth, especially in the ascending form of G to
E, was one of the motivic elements that Evans developed.
That particular interval is now inverted and used, beginning
in measure one-hundred-thirteen, as part of a two-measure
motive that Evans treats sequentially. The last leg of this
sequence, measures one-hundred-seventeen through one-hundred-
twenty, is extended two measures with the kind of syncopated
material found earlier in the solo. In the next phrase,
Evans uses this same motive as a starting point but varies
the rhythm and texture by re-introducing the interval of a
sixth. By measure one-hundred-twenty-five, only the extreme
tail of the motive exists in the right hand part as he
strikes two-note structures on weak portions of the beat for
59
the next six measures. The tessitura of the right hand

ascends to a structure in measure one-hundred-thirty that is
a kind of chord cluster and serves to completely break down
the motive intially presented in.this iteration. The
syncopation found in these measures is made more acute by the
left hand chordal punctuations on strong portions of the
beat. By extending this phrase into the B section of the
form for two measures, Evans keeps the listener off balance
as this is the first time in this solo that phrases overlap
into different sections.
Evans uses hemiola and sequence as unifying devices in
the middle section of this final iteration of the form. In
measures one-hundred-thirty-one through one-hundred-thiry-
four, he utilizes both effects by grouping four eighth-notes
together in a descending pattern and then using the motive in
a downward sequential pattern three times. The triad found
in this motive provides the link to material previously
developed. Evans interupts the triadic material by .
presenting a rather chromatic ascending line in measures one-
hundred-thiry-seven through one hundred-forty. This phrase
not only provides contrast melodically, but also
rhythmically, as he presents the line in even eighth notes.
Evans follows this, in the next four measures, with similar
material that starts on a pitch one half-step lower.
However, as this line ascends, Evans transforms the material
into arpeggiated seventh chords, re-introduces the hemiola
effect, and develops the motive sequentially into measure
60
one-hundred-forty-six. He then transforms the arpeggiated

motive into a different four-note pattern and continues the
downward tendency of the line for the next six measures
utilizing the same developmental techniques.
A thicker texture in the right hand returns in the
final sixteen measures of this, the last statement of the
form. Evans varies this texture by utilizing two, three, and
four-note structures. Although this material is syncopated
in a similar fashion to that found earlier in this iteration,
the durations of the structures are lengthened and provide a
ritardation of the overall motion. The hemiola is presented
in the final four measures as dotted eighth notes and this
rhythmic effect, coupled with the full sonorous chords found
in these measures, effectively bring the solo to a close.
The interval of a sixth provides the only link between
the melody of "Up With The Lark"- and Evans* improvisation.
It is initially displayed in the first three measures of the
theme as the first and last pitch of the cpening motive.
This motive is the head of three of the phrases contained in
the piece. The other obvious occurences of the interval are
found in measures thirty-five and thirty-six, and twice in
the last phrase of the composition. The numerous times that
the interval is displayed in both the melody and the
iirprovisation suggest that perhaps Evans consciously used it
as a kind of unifying device.
With only a few notable exceptions, the harmony that
is presented in the statement of the melody by Evans is
preserved in his iirprovisation. The most obvious deviation
frcm the original harmonic scheme is presented in measures
four and five of each improvisational iteration. Evans
replaces the chords in these measures with a continuance of
the. dcminant-tonic harmonic scheme that begins the phrase.
This harmonic substitution coincides with the use of a
dominant pedal tone displayed in the right hand as the •
improvisation begins. Evans repeats this identical
substitution in the forty-fourth and forty-fifth measures of
each formal statement where a similar phrase occurs.
In measure twenty of the solo, Evans replaces the C7
with a Gmin7. This structure could be interpreted as a Cl
with a suspended fourth but Marc Johnson* s bass part gives no
clues as to what Evans* intentions- were. At identical places
in the last two iterations, however, he precedes the C7 with
a Qmin7, thus preserving the II-V relationship. ■
At several points in the iirprovisation, Evans
enhances a harmonic change by preceding it with its dominant
seventh. In measures five, forty-five, sixty-one and again
in one-hundred-one, he inserts a E7 before the Amin7 that
follows. Evans presents this same idea in a more caiplex way
by superiirposing these two structures to create a polychord
in measure one-hundred-fifty-eight.
Evans* use of the left hand in this iirprovisation is
very consistent throughout both in the duration of the chords
and their placement in the measure. He overvhelmingly
punctuates the harmonic structures in eighth notes and on
weak portions of the beat. The placement of the chords help
accent the vast amount of syncopation in the solo. When
Evans occasionally places a chord on a strong beat, the
resulting effect keeps the listener off balance. An
illustration-of the chord inversions he uses in each
iteration is shown-below:
Statement i_ XL m
Root Position 2 2 6
First Inversion 31 31 32
Second Inversion 3 2 1
Third Inversion 15 18 17
Others 3 2 1
CHAPTER I H
STYLISTIC INTERPRETATION
Numerous similarities can be found among the

improvisations discussed in this document. Indeed, even
though these transcriptions represent only a fraction of
Evans* total output, parallels can be found to his other
works as well. In each of these solos, Evans displays his
skill in developing melodic phrases that are clear, concise,
and balanced in both their shape and content. This seems to
be a result of his training and total involvement in the
music making process:
First of all, I have studied emotionally and •

intellectually what I consider to be the language of
music. The language of music, to me, is a melodic
language primarily. The melody implies everything. It
contains the rhythm, and it implies the harmony, and so
on. . . . Out of all this, and out of classical music as
well, I've tried to abstract principles of melodic
language, ways that one idea can follow another, ways of
treating an idea. I haven’t done this self-consciously,
but I have had an eye on it throughout my life.l
This kind of melodic conception is manifested in all
of the solos but is, perhaps, most noticeable in the first
Ijim Aikin, "Bill Evans, " Contemporary Keyboard 6

(June, 1980):55.
64
statement of "Since We Met" where Evans is playing

unaccompanied. It should be noted that this recording was
done in 1974 and is representative of the latter part of his
career.
In four of the transcriptions (the exception is

"Israel") Evans breaks the monotony of the single note
texture in the right hand through the use of two, three, and
sometimes four-note structures. Most often, thirds and
sixths are used to accomplish this textural change, but there
are also examples of larger structures, especially in "All of
You." In this piece, Evans uses numerous triads in both root
position and first inversion.
These textural changes seem to function in three
different ways in the course of his solos. First, they
provide a different kind of sound as a new statement is
initiated. The second iteration of "All of You" and the
third statement of "Up With The Lark" are examples of this
kind of treatment. In both cases, the new texture serves as
a developmental procedure that eventually retreats back to
the single note line. Secondly, Evans utilizes a fuller
sound to emphasize certain portions of a phrase or section of
a piece. Numerous examples of this can be found in "T.T.T.
(Twelve Tone Tune)." In the material that bridges the third
and fourth statements, the thicker texture accentuates the
tension and syncopation Evans has created. A similar kind of
treatment can be found between the fourth and fifth
iteration. The use of thirds then becomes a primary
structural element in the fifth iteration of this piece and
is carried over into the next statement of the form. Evans
uses thirds, in a much subtler way, to emphasize portions of
phrases in the third and final statement of "Since We Met"
and in measures fifty-four and fifty-six of "Up With The
Lark." The other way in which he utilizes a thicker texture
is at the end of the solos. This fuller sound is usually
coupled with longer note values and syncopation. The
combination of these elements tends to slow down the momentum
and effectively bring the improvisation to a close.
Evans displays a wide variety of triplets in all of
these transcriptions. Most often they are used to hasten
either the ascent or descent of a given line or phrase.
However, they-also function as arrhythmic motive which goes
through various stages of development. Both kinds of
treatment can be found in all of the transcriptions to a
greater or lesser degree.
There is a sense of rhythmic displacement in each of
the solos although it seems to be more prevalent in the later
transcriptions. It manifests itself in the way Evans places
the nuances and accents of a phrase over various portions of
the measures. The result of this technique is that phrases
often times bridge sections of a piece or even statements of
the form. Scmetimes this rhythmic displacement can catch the
listener unaware. Evans defines the concept in this way:
It’s a way of keeping the music moving when you’re using

a regular metric form, by making the phrase accents and
66
the motivic accents fall according to the content of the
motives, falling before it should happen, or maybe
dividing it up in different ways as it happens. It's a
way of propelling the music, making it have a great deal
of forward motion, and at the same time saying something
extra because you're getting deeper into the language of
music.2
Evans displays, in these irrprovisations, various

kinds of harmonic structures in the left hand which are more
or less accepted as standard for jazz pianists. These
voicings have been outlined in several books, perhaps most
notably, Jazz/Rock Voicings for the Contemporary Keyboard
Player by Dan Haerle^ . The two major categories of voicings
that Haerle demonstrates are those that have the third of the
chord as the lowest sounding pitch, and those that have the
seventh of the chord as the lowest member, i.e. first and
third inversion. Most often, these structures contain three
pitches with both the third and the seventh of the chord
present. The final member of the chord is usually the ninth
or thirteenth and is often chromatically altered to color the
harmony. These kinds of structures provide the overwhelming
majority of voicing types found in these transcriptions.
Even in "T.T.T. (Twelve Tone Tune)," in which most of the
chords contain just two pitches, the third and seventh are
usually present. The uniqueness of Evans* voicings is most
2lbid.
^Dan Haerle, Jazz/Rock Voicings For The Contemporary

Keyboard Player. (Lebanon, Indiana: Studio P/R, Inc., 1974).
evident in the way he uses semi-tones in a given structure.
This is manifested in major seventh chords where he places
tiie root of the chord a half-step above the seventh. The
third of the chord is then the -uppermost element of the
structure and, -when there are four pitches, he places the
fifth of the chord at the bottom. Evans uses a similar
arrangement in seme minor ninth chords. These are spelled,
from lowest to highest; ninth, third, and fifth. With the
exception of "T.T.T. (Twelve Tone Tune)," both kinds of
structures can be found in each transcription.
Evans introduces each of these pieces in slightly
different ways. "Israel" is the most straightforward as the
trio simply plays through the composition twice before the
solos. Since "Israel" is a blues oriented piece, this is
standard procedure for that kind of ccnposition. In the
other twelve measure piece, "T.T.T. (Twelve Tone Tune),"
Evans plays through the theme unaccompanied while using a
great amount of rubato. The rest of the trio joins him for a
final statement before the solos with bassist Eddie Gcmez
playing the melody. In "All of You” and "Up With The Lark"
Evans plays through the melody once with accompaniment but is
more free in articulating the theme as it appears in the lead
sheet. As discussed earlier in the document, "Since We Mat"
is, perhaps, the most unusual as the trio plays through a
chord progression that is related to the harmonies found in
the piece before Evans presents the theme unaccompanied.
Indeed, all five of these pieces are treated somewhat
68
differently and show various color potentialities that a

piano trio possesses.
Evans utilizes the piano as an instrument in various
ways in these improvisations. The use of chord paralleling,
described earlier in the document, is evident in seme of the
transcriptions. He displays a full, sonorous, almost
polychordal texture in the closing measures of "All of You."
This is contrasted by very sparse uses of the left hand in
passages where the single-note texture in the right hand is
enhanced by only an occasional chord structure. These chords
emphasize turns in the phrase or are placed in a measure to
rhythmically hasten a line forward. Sometimes, as in
"Israel," the left hand structure can be as simple as one
note which serves to stress a certain element of the
underlying harmony. The durations of the left hand chord
structures vary from long to short. 'When Evans displays a
long duration, the harmonic implications are, in turn,
stressed in the right hand line by scalar passages. Shorter
durations, or chordal punctuations in the left hand, give the
solo an energetic drive. This is, perhaps, most noticeable
in "Up With The Lark." Evans utilizes the full upper
register of the piano in each of the transcriptions.
Usually, the tessitura of the right hand is raised at those
portions of the solo which seem to display a high degree of
sequential treatment.
In looking at these particular improvisations as they
relate to different portions of Evans* career, it seems that
©
there is more evidence of motivic development in the later
solos. This is not to say that the earlier pieces are devoid
of this kind of treatment, but the later works, especially
the last three discussed in this study, show clearer examples
of different kinds of motivic manipulation. Evans summarized
his musical development in this way:
I would say that essentially, my concept of form and

sound hasn't changed that much. I'm working with a
total language problem. What I'm trying to do is be
able to say more in a way that a listener can relate to,
and still have the roots of the music firmly in a jazz
concept. I've really searched very hard and worked very
hard to develop a kind of motivic ability, where one
idea follows another, and I think I'm getting to the
point now where it's happening quite naturally.4
Concurrent with this progress in motivic development,
Evans seemed to develop greater command of his technical
resources during the course of his career and was able to
reach out and be more experimental. Evidence of this can be
seen in "Ip With The Lark," where, for instance, he uses a
kind of chord cluster in the final repetition as a climax to
the melodic and rhythmic development that opened the
iteration. This uncharacteristic sound, coupled with his
relentless and complex use of syncopation, give this solo an
energetic drive that is somewhat removed from previous
improvisations. After listening to the tapes of Evans* 1979
Paris concert, from which "Up With The Lark" was transcribed,
jazz journalist Burt Korall wrote:
4Ibid., p. 52.
70
. . . the open quality of the performances, the

unusual energy and percussiveness, in particular, seemed
uncharacteristic. But as I listened, it became apparent
that Bill had changed without tampering with the core of
his playing personality. His basic sound, the harmonic
adventure and manner of dealing with rhythms, the
melodic focus of his work, were not affected. Only the
energy level was heightened. And he seemed more
immediately accessible— though extended listening
revealed he was more ejqoerimental than ever. 5
According to Helen Keane, Evans' personal manager,
producer, and close friend, he enjoyed recording in the
studio even more than in a concert setting, but either way
Evans approached each of these sessions with a high degree of
discipline and professionalism.6 indeed, the Evans* legacy
is preserved in an enormous number of recordings- For a
complete discography, the reader is encouraged to look at
Peter Larsen's book on the subject.7 it seems, however,
that he was at his creative best when he was surrounded by
supporting musicians that genuinely shared his musical
conceptions and were able to respond in like manner. The
recordings that resulted from his collaboration with Scott
LaFaro and Paul Motian in the early 1960's, the long
^Burt Korall. Liner notes from The Paris Concert:

Edition Two (Elektra 60311-1), 1984.
Înterview with Helen Keane, Helen Keane Management,

New York, N.Y., June 21, 1988.
7Peter H. Larsen, Turn On The Stars: Bill Evans, The

Ccmolete Discocxraphy. (Copenhagen, Denmark: Peter H. Larsen,
1984).
association with Eddie Gcmez, and his last working trio all
seem to have that same creative energetic drive, and best
reflect Evans* development as a jazz musician.
CHAPTER 17
CCNCLUSICNS
Mfost students of the development of jazz have taken

similar approaches to the study of Evans* style. Mark
Gridley states that perhaps the most historically significant
contribution he made was to emancipate the piano, bass, and
drum roles frcm traditional conceptions which had become
standard during the bebcp period in the 1940s and 50s. He
describes these traditional roles as "walking bass, drurrmer
playing ride rhythms and closing his high-hat cymbals on the
second and fourth beats, pianist playing long, eighth-note
lines with little interruption, etc."1 There are several
factors that contribute to the demise of these traditional
roles. As stated earlier, Evans consciously tried to develop
an interplay among the members of the trio. Secondly, he
sought out those musicians who could deal with this kind of
esthetic and was quite successful in attracting them to his
group. Finally, by developing an irrprovisational style that
utilizes silence much more than the earlier bop pianists, he
1Mark C. Gridley, Jazz Styles: History and Analysis,

3rd. ed. (Englewood Cliffs, N.J.: Prentice Hall, 1988), p.
255.
73
provided the space for the bassist and drummer to interact

with each other. "All of You," in which Evans displays
shorter phrases and melodic fragments, is probably the best
example in this study of. this kind of interaction between all
members of the trio. It is significant to note that this is
one of his earlier recordings and shows Evans’ desire early
in his career to develop a new kind of sound within the trio
format.
Evans posessed a great deal of pianistic technique,
but rarely do his solos display virtuosity for its own sake.
Instead, he was economical in his ideas and utilized melodic
and rhythmic development as an integral part of his
irrprovisations. He was deliberate and thoughtful in
presenting his material and always seemed to make ideas
logically flow one to another. Gridley describes Evans’
approach to inprovisation as reflecting the "well-honed
craftmanship of a very serious performer working in the
manner of a classical ccnposer."2
Most musicians would agree with the previous
statements. However, this document demonstrates that there
are other aspects of Evans' style not previously studied in
detail which serve to better understand his musical
expertise.
In virtually all of the more detailed articles written
about him, Evans was quoted numerous times. His statements
2Ibid., p. 252.
74
reveal an intelligent musician who was able to convey his

thoughts about music and the music making process in a very
articulate way. There were certain circumstances that
plagued Evans* personally: a heroin addiction which he was in
and out of all his life, and the suicidal death of his older
brother, Harry. Even throughout all of this, Evans*
irrprovisational style changed very little during the course
of his career. However, one can recognize that the later
recordings were, in a way, more adventurous and, at the same
time, somewhat more controlled musically. Evans* career
bridged seme radical new approaches in the jazz, idiom, atonal
and free form concepts in the 1960s, and "fusion,** a
combination of jazz and rock influenced music in the 1970s.
The latter was important because it created a new kind of
audience for jazz and utilized electronic instruments in the
idiom. Evans' music transcends these developments. It is
not that he couldn't function in these new elements, but that
he could not feel comfortable within those confines. His
development was within the parameters that he established for
himself, and attest to his integrity as a musician. Included
among the many jazz pianists whom he influenced are Herbie
Hancock, Chick Corea, Keith Jarrett, Warren Bernhardt, and
Denny Zeitlin.
Perhaps most importantly, Evans* recorded legacy is at
a consistently high level of musicianship and good taste, and
reflects the craft of a consummate musician. He has earned
an important position in the history of jazz and jazz piano
75
which, -undoubtedly, will stand the test of time. This

quotation summarizes how he wished to be remembered:
My image seems to be . . . the intellectual,

serious, romantic, lyric ballad player, and this is
certainly one side of myself. But I think I put much
more effort, study and development and intensity into
just straightahead jazz playing . . . swinging,
energy, whatever. It seems that people don't dwell on
that aspect of my playing very much; it's almost always
the romantic, lyric thing, which is fine, but I really
like to think of myself as a more total jazz player than
that.^
Implications of the Stucfr

This document has attempted to make a descriptive
analysis of Bill Evans' irrprovisational style in a way that
makes use of conventional nomenclature and devices associated
with analyses of traditional classical music literature.
This methodology seems to work well in describing the music
of Bill Evans. The analysis reveals the craft of a musician
who was able to create clear melodic phrases and to logically
manipulate and develop both rhythmic and melodic motives in a
cohesive manner. Many descriptive accounts of jazz
improvisations found in periodicals generally look at small
fragments of the solo, showing interesting ways in which the
improviser has musically negotiated a certain measure or two
of harmonic material. While these analyses are interesting
by themselves, they are somewhat incomplete. It is hoped
^Cfoituary, Downbeat 47 (December, 1980) :11.
76
that this study will generate interest in the application of

more traditional approaches of analysis to jazz
irtprovisations.
There is more that can be learned and appreciated in
the music of Bill Evans. Cfovicusly, this study represents
only a fraction of his total output. Consequently/ there is
a wealth of additional material available to analyze.
Utilizing several kinds of analytic techniques on the same
improvisation would make an interesting study and would
reveal different aspects Evans' style. Little has been
written about Evans* subtle use of the piano as an
instrument. Although this document alludes to this aspect of
his style, there is more than enough music to make that a
worthwhile study in and of itself. Evans' many solo record
albums provide yet another aspect of his playing that could
be analyzed in detail. In contrast to this, Evans has been
recorded in larger musical ensembles/ including his work in
the "third stream" movement. Questions arise as to how his
playing is similar or different in these kinds of settings as
opposed to the smaller/ more intimate confines of a solo,
duo, or trio. Yet another potential area for study could be
how Evans accompanies and interacts with soloists, both
rhythmically and harmonically. Finally, Evans has written
numerous compositions. It seems logical that seme sort of
compositional analysis would be an interesting study and '
would provide insight into a different aspect of Evans'
musical expertise.
The transcriptions contained in this document have
been used as pedagogical material in the writer* s
improvisation classes. They have proven to be an effective
tool as examples of motivic and rhythmic development,
balanced phrasing, and the use of the left hand in a jazz
piano improvisation. They have also been useful as a source
of sight reading material in the jazz idiom. There are other
creative ways to use transcriptions as a tool in learning
jazz improvisation. It is hoped that this document and the
accompanying transcriptions will be a stimulus for educators
to look at transcriptions creatively and develop new ways to
implement them in the classroom.
APPENDIX A
"ALL CF YOU"
Words and Music by Cole Porter
Solo Transcribed Fran

Sunday at the Village Vanaard
(Riverside RLP 9376) 1961
All of You
Cole Porter
T , , M N"1
- - =— 1
- - - - J1 -----
a •* i J ^ D ^ i 7
i7 3“
GrbiiS
--------
7
6>b*SS
f t - J —A m---------«-- J.- ^
- £ -------- ~
(?(>$
£ ifASS £>b*SS e J
fl-t- i i j — j i
Fj — ■ J |J - i
8ft --------->— i
J .... r
A 7 p /
■; ! J P ] I— tfi-----
h, d1— = 1 J ■
ff-Jr ~ 3 ~ ... 1 1
s ¥ A 7^
80
a- — —j
. , 1-_aL-- -- -- J-1 ------------
j i J 1# J
Ckvt|7 * A^4i7
r — 1----------------;----
^ j »■.. . ■ ■■ m
£m*i7
^ bdl&S ^ b*.£S
— I i J J.J = — | j) =^j=.
^
r J r J :
A 7& i >
E<f FZf<\iy
L------ ---------------
fg=-; u ,-4— i — I----------------
t r [_ — «----------------
r -'
p*o7 £jL-90S*
1 1 | J .....;■ > ■' ---1---

f - J -J — J ....J ' -®- T (J. j *0
P/W/M7 7
/ / v /
All of You
Solo by Bill Evans
ijL v .y r f ^ ^__________
r * '=
— ^ —
— i—
lEjL.. ... r ffZ x j u— ii . -j_

t il
ft— u -
a
^ —'
ft. ’
-4------- ja.
- D------ --B
P = £ = E =
fr-.T S . r tr j==m i ■■■■■.J

- 7 K ==
j i ..... ................. ik
m f
10
A
_p.
■*Tir
3 3
p.-
^— It! J
=r«?
=1 ^ -3 -------:*rf -jr - T
—u----- 1-----1
f , l |
pi
1
r f- .a k l. . = fe — f— T f = : |r \ f |
? 1 K [ f i *= -
A
► If-.
«P£- 3 1
Ip- r = t
IS" 3 .
1-- 1— -- sr h . i V f f i
M — - - r-= P ^ ! p i 1 1—J
b = y = r 1
nnrV ff t *? — f f
= •= & £
i--------- 3 — r>
K j-" f r p . . b = r r f- , - i
in.. i>- ir ^—re—j i ■ j =■t = =i 5 = H -
■------ 1- ■
r m =
2---------i — = U U ^ J
3
> , — 4
--------------------------------------
83
20
J ■ J"]|JJ
A
—a—
Heal
m I
[Hi’
frrjhti m i
B
A
I
30
m » n
jr: | ,^
t o p * rf 1 -p
A k.
---o------------
S '
k- J i
m 3T
—\ ,
tP f = f fcP ¥ f t f~t f { p |p P |)g g
§ :=U +-r - " P N £
* = H ^ = : r ^ t L L i
— N -f- ^ — = .>‘n .ff

i------ 1------- - 7 ::-r :T 1 :
i ± =
P- P n r =P=i.g- .1R c f r l f t g :
=±.— y-f » ■
■* t [ r =
■
■
•> ------- * ft i^ ft* ft
-- ^ -----
A
------ :----- -------^ 5=-------
r ' 1
4o
u * 3 sr t f e— J>J E3
P r~~
T t — y Pi p
f f »■ =
aJL* JL-
—I k r !# - -f . -
j b r f t t f
f i n - t ' g l T Pi - y j ^ n i
=^=i
£ .K.
►
. ■ |t i . t . Jt- yf.
I^LT pi =? — 7 / ?---
5b
>j-,i .1 r »3 — - t - t< ¥ P H = = F * * = -t-tif— ife------- 1

T ' ------- - = :*f— r =^t=
= r
A. JL
. _ ^ p ----9— -- »---
i , = ---- »
V ' ' I * j- 1 n =±±=
Efer-. .]>■ J. d = T = d = d = ^ *=+**=

:Y » |
1 11 y ii 1 - i s — 'fr. — P H
= M
k *-
- r. :r r
86
sr
j - T ^ fj- Til £
A
.*•*. Kg: £.
' "f f - *'
J r 1
fl- rT f T 1m r > hi* v m C l J i

ff- 1 1 J= y i 1
w i ~ i A t = ■ ■‘t , . T i
f ? r | M r = i" p j t p *-= j
to f " %
rrf— - 1 M O f t £ 5 -i ^ a r s . ,
---------- U J -- 1--- !--- 1----
r~
A
t •1
/ ----
- r
— 3 ------ ,
a r ==P- = ? . "1 n t - T T ^
g - - 1 L J = M — — ■
JL
F t -------^ —
h T 1 ~ l .......... f ' 1
87
~ H X f L j " 1^
3
--------- 4 4 - % 2 ----- f - f -,■■-■

-L: 1--------- --- 1--?-----
=
15?" u t H i - r r p tp r tLn i- i
=t£j':.'--|' |__p
1 1 4
P r i i U J *
►»___ ^ ___
^ — *--- 1------------ -H--- H 1 ■ j 1- »
l o
tf-'i p n , ty r iT ^ f f i i E t i f t r f =i
7— P-j-J_ f r = i
9 = ± = ( = * = =
IhB- M.
r r ------ fr£-
— 1—7-- f__r _J----- 7__
|rj _
= ^ f = SP=FT
| N ^ =
------ I M - t j — ^ = y = - L — -
JL JL
S' .
/ 7 C
u m
p r^T rr
'lxJj r i tlu |
3
X --- —^ I f
1----------------
----
fncP
- KlFO fP m
-., " U J S
H— p t
r,,
r'-"T"K' U^=jk| r \
— ^—
jj IP .
}-t- ■: ^ = 3 s
»— i
m
r ~
1—
f f t
3
J - F - f - M
-------->
,
-
= q L A JK.
= ^ = i 4 -
< \ o
\ i r n k , t. . . + * = - L-Tl . n q
1 M N ..................... r k [j j= fr ^ = i
3
------------ A , ----------- A , . , ^ , f f ,
4_J[___ IL 7 ^ " _I--- 1--------
3 3
k H L. . U =F"p? ■■ h pr;—4 - —r ■■"■— — *—m
l=H
m
r JM | ttr m =
3 3
L ■L
, — i
f 1 wJ ► ►
C____ r
90
T rx J -
3 3
9C- ■----- >--- p
i.-■ J►
t.-
K,
it f f rr i m -.-f tr r i
I u u i = p Ju
t- — I------ -1-----------
io° i ,
i t , » . If t V r- i ■ i.ftp p1
f--' - LJ
•m- -m-
iIT-.' ^
t -- i -------------
'r ■r. .
f -f <
-4---------1-------------- ------ 1=1—
■
’
, . l. T*1 L_ ■ t . t-F tF If-.= 1

|F r ■* T 1
V. ■ •[■ 1 J 1 H =d
- y •*
1 w f ’ T ^
m-
r r r L r j n lij— — — =^—
— -J-J- ?------
9-----------
^NH p.
►
rr? f f r-r
■•pf f : ;-f i T tm i
* * f i f f- — --- 7
K.
, | itrfcte
~ ~^>F- f-
. . _ |f f : %
■ r r t T
=------- 1—E— (_
110 ^
rrfî f-f £— ,1(1; rteTe-SS
—L. — 1 T {tlsl- 8>t=j
lT* ! f H - _fjj=r= ? < # $ —E ~

1--- — r — 9 b = L i j rL-f" ^
>2T
ep; 8 V tJ*V t—i— i— i— It
F V= * M = - f~ T *8 J=-8- l i id
If: f
f .tt.fr 1
93
APPENDIX B
"ISRAEL"
by John Carisi

Trio *65
(Verve V6-8613) 1965
95
Israel
John Carisi
r~k
P£ Drwin. Fw a j '
ii= i
to
j_____ j__p • p ,
i £ h ^ 4£f
P»*mh7 F7 gbi pp
^j7 v
97
Israel
Solo by Bill Evans
^ ‘
f t T-l-
I11 M
98
Ji
I
P B
Io
1 1 iJ'T 1
li
§-* -iâ
►: a™ a
>T f - ~ ■
m
B
i t
i
99
IT
p U r J 1-' | m "T^T
3 3
.. J
f— =r=TfcH P
1E h - - r ^ .^ F - ^ r - r - F F t f P jF ■
‘t f f q
y I _____ 1 ^ = hrl J ■ fc**’
■ rr^ V f ■ f \ ^1---------------
—
----------1---+ 1 =
---------
A —
ouu
- i 4 ------------------------------------ f ------------------f —
20
f i l f f f fJ f *M p
| ' *' -
r, f , f
3 30
r
v ^ft
P ±-Ltjrr
ffa lV r^rl rr rrf f f#= f-
fr-r-
1 1 -)-----[-- ^_:
L
>Jf
1/l 1 f 11 -8. 1f=41=r
— ------- ----f---- -4----- — I—
3?
H&-. „ f-fN = i-r /-f= it
V
-®-=— — —
T " ' ■ '
n t£______
Jt -f■ f—
K. r? 1 1 . — ...
i&-- r'•rF*f=T=l®
TiL
ffr.f f-
y -
* tif£.|
ir
r=±=
L
U f i---
j- -f
------
h % = =
[»Tppl>f •p.£jLf£l
j
p
.
AO
: m. ft:--;--- -- 2 —
__ \r
♦
■r
•»
■r *? J L -
•P- -P- -P-
--- f -
r J liib
102
fli f ■ r r , f fp f f p r f ^ f r
^
IE, f f „
^ r =— 1— ^
3 — 71 1----- 1 ~ T "1
fL _ £ . ip... ? ^
fc-y f r - p.
- ■ J ----- =
---- 3 ------, ,------ 3 ------ ,
t t ! f f 1 *
1 i f i 1 = J
APPENDIX C
"T.T.T. (TWELVE TCNE TUNE)"

by Bill Evans

The Bill Evans Album
(Columbia C-30855) 1971
104
T.T.T. (Twelve Tone Tune)

Rill Evans
r f r H 1— K— I---- ------- — td— fa----
fin/*7
S '
t>r P
s r 1- L r
1 =
=
i
=
IJ
•'*-
* r-
~ f " -----
D7
=
r r
_«---a--- ----------
m J
E W & M 4J7
7^ -- »■-- ^ ----- 7*-- 7*---
N :r
fc-r
(Sknaj7
[r lJ
r= .. ^ r f : f
finAj7 £*f/H7
=1 -------- f
— r-- --------------
/}«m7
—
Z^min7
p..
rf-..«...rf i-- . it V i 1.
H1 J "
flm in 7 &
106
T.T.T. (Twelve Tone Tune)

Solo by Bill Evans
ifc-j t r T 1 .
f ' -p ' t ™ - 1
Y * * 1 -
i ------ [ft = |
-= w =
r>y h ■■■:----------- z r r r - — — — -----------

F - - r- :i : = = ±= t =
1 o
— $---------- 7
a M - 7
—— — r
ft
J --
r P 1-«
T-|» _ (>■ ■ r P
■rYrYr
3 3
3 3
-------- I
p
K. - 7 r ? 1— -1---------- ---------- 1
> 1-----------
■ -1
m
h , . . PTl i' it h
p- 1 u r n
ie
m
1 1
V ^ — L -=
r
♦
1
a
L 7 * r ^ - r —
p = j
~
s1---------*
1 =F=q
fl= - J
y J »
,
ir - t f t - l
u -
i f . j ■f i i f i r d
Sfc
108
a a I i
m
P ^ 'fc
P— 4
r~o
i
109
m ,
is *
■ , . lJ~H r r .......... t " L 1 "T J LJ P
g -U a r J J J tl j =--- j) J ^ --- j ■*-'-1 ~
3
EE1-!*- ;rh'- - t t
-F■ J 1 i
i JiTJiJ n r?------^ i
3 ' * 3
1tfi.
O------------------------------------------------------
j p :----r —
- ..........t —^ — —
30
110
Bfcg
m mm
t 'i t r r ru r t m rm -r=|
3
—r f ■ifi-----—iL—
— fii—
y,=}£
—
A O i
p = >«rn= ti-ffT
& M i ... . -lr f ¥ i
I
) 1;
-vi
Uf- <p = |
■<:m »
.....
4s* ♦ , •
ffc-tr— rr r-r-'T-' r -^ .... ? . L . r - > J j = |

-- T-----_ I .-J---
y - l s j u . 1 u 1
3
3
j H
J¥-
j-r- - ' f C
!■' .r^F-
1- r — ... -
I f r - f r f i V f ‘r r f - r r l V i rif i., I r n 7 -f-:[j=h

fr= H I l T |_LT L L f .
3 3 3 3 - L i J L J J t t r H
^ 3 3 3
y ------------ y
- T ...... 1
112
&
5^
f r — Tjl ........ .......... j
i d
w m
i
f e j'u iagj^LJ 17
I *
■ r r - ^
J- -- 1 -------- 1---------------1
j T e# y1= -hr:---- -------- — 1------
t>°3 , Is )
flL-JTir
$ ^ji_ir u[[j fffa:*, >Tf f =te!M £
rtrt. *f ■ [_— ^ ■ 3 1— 1 kXJ — ■
3 3 3
qg^T :■ g :■■■ = r =
r ■ : r = HI " I .............
6a— f f t r ^ t r ’^f £=Ffr

----LsbB* = 3 ^
f U f U f 1•
1— L = 3 3 a
-----
= H =
1
.. ^
kg.
- J : --------
,2— 1--------------— ----------
&T
Eft-v t r r f rr *r i4=? —
= f e = * -----*—
= — H
------ 1
-p i L r m - l
3
U r if J zlf- y
114
|T "H | ^ = - 1
3 3 3
-=
----- ------ " : =e - e 1v'ffH
^--------£—y ---- ‘—
^ -v rm
ibe? p jn n * rp -== 4=-r T--P l- ■ Mf
^ f 1
^ ------:-------r*-----K ■v
-...f — - d^—
1 ---- 1 — —
^
1
~ ^
16
dh—^** j j r — f1—i— d- r i> K~t —n

p *I—t*=
Bp- 7 .. p^ = |
.
--------^1--------------------
rr-£-----
\J— \
------ 1-*----------- ^ ■- = f l
== L £ = E = = :
te i l r-
^g=-- . , tn - y /? ■ i r~C~T . ^^tj=q
F ^1 [T T ^ ~ 1 T :7
■ V-f.:.------ = M
—------ 1^.
115
i
Sc
i i M f f f
i i
<?0
p f
it mmi
.3 3
"s ITS------------
y y =
r f T1 i- r - =
=
sff r=tj = ¥L-j
* a g^=f=4M= i
«? ji" pjT J ^ N
3
t rT 3 = =%t r r ^ n ~ r-J =
p 7 J J - —l-=f:------
1s- 3 3 3 3
KP ^ ^ —1 J—1 i-jTj j r j i r j h
g -' 3 3 * 3 =t
*T------------r-----------
ij t
APPENDIX D
"SINCE WE MET"
by Bill Evans

Since ftfe Met
(Fantasy F-9501) 1974
119
Since We Met
Bill Evans
S = F = F = = S = hif.—. P r
r ■p r 1 11
■— — _ .
r i - k— » p --------
,
^ £>
Pbass
■- {— J ~ f--- = d
t—h—qJZQ.1P■—
ir;------- 39- --
pHe7M> U 1 * J’ |JJ =tC
A'xln’ fimnfti)
'
■n i i 7JnTfl
= ---i1 --1----
---------
J
pinin’7 erw.K*?
4 j
T*¥
10
fi? - -1-[=-■-1
3-1 —O' 1 1 1 ==
y=frfc » 1 4 t: ■ ^ = =
- i - J - ^
J^m'oo7
E7
120
IS-
I fr -.l- l .
■P*--------- p --- r-p-- f*------ a--*---
:p = f
r r= :J ■ — r \ - d - L . T =fe=|
A m i n ’ p p & b
&
' ' =
=t
. l- » = P----.- v \ V^f--
T f__
_J_! T ~ * rI__ ___
!___ r 1 y -W
^ 4 — 7 p u.
d ? ppvtTn'7
ft;
JL
> e>
--e-- — ------
L--c_---- £--
2 D
ig-r -r »r
r
r = ... . L.=* r r F-T q
-1 1 = -------- ^ u ■= 1 1
/*b7
r r
E£
2 S
. , f = _ f = 3 = 3 -f“-------- p—
.... t — l — I- -
g7^> 1
Dâj7
F
^ ^ -- 1
# ~
r f ' pl = —
-r.r > - ---- ^
=— r r - 7 - =
— n rr^
fHj 7
— .
> ( » > *
V —
121
f—
P—F*------ r ■ P
S' JJ I=»^=f J""l
* t JJ--- *- ------
fimn7 fi Min7 Pi?

fcV-£7-—
---
:--r.7-7
/-7
/—
i-l 1 -
11
i ' J Jn j •i i ^
1
u
1
©H»n7
*>/
Tmin7
3S
tit r p \Jtfl---- bjLi-II« m

J-J m
j=
-brr.-------- 1-4— J
g-r-
D
r Cmey7
7
6>bAiS &
if* -7
JC..—r-r—
£.—
£—
7---- 7— 7—
4 0
tit r
y-'i- .
dm^j r
1
7 (Qm'in1
122
Since We Met
Solo by Bill Evans
f^ U
U-U |[ r t r r r r |
^---------
-
riR
p_tt--- . = . .
7—J
■
-—
J -I—fU:-X-:*—_[_ZJf. -- .
_L t
I --(:=r*f
7—
S
i^-—'
L—M ftihi’8 rp-iP—ik
—iP---— -T-h-
--- i- -p-! r= T
m=F
T
— f
f- — Lf-I, fHj
it
BB— m •1 7v4-
1 --| .I--t ----- i■*-
3— W -« > n-i P n
--- - ----- —
hf£-V
€■ a - c :E
F --
T 1------i-
Y - J---1
\ i ------------
^| c = T " p -'y * | V f ' H
r
Ifc f . r— r p-f
----1— 1 | r-------
‘r = = ! = *—T ~ i
p — - k 1 1-J
4 ^ ---------------- f ----- --
y. kc:
m - t t i L
............. u ' n i l 1
r T f
V~ 1 '
^ — f ■%1 f
E---- --- -y--- 1
‘r i
^ m e , 1 3 - J f --------- £ ----
I ---1-------- 1-1-----
t - - 1 * * r ■■ —
^ ■ f . F F ^ f -T’f " ' |* | =1
pr
L»t z
-------- =_ _ ^ _______ i
= ---■ ' ? -T V
j --- 1
tiS-T Ip = ? k= ■* F ^ F f c .
-- --- I -Li.J,
ii1
r - 1------ ------------ -
rr--- ^ ------ j----
125
25- 8wa
iS ••l f r r ptr r----- 1

fclt I
,.= 8 =
Ms
L
1
f * f f \
1
'
^ .' j' =^'=*= £ -= S
1
■k=
5 4
'
i
f f ? r fr=i l-p -F I. ■ .
tp -.» L_ - H = = l
1 tnrl LJ L
M .J - . -^
— i--------- '-----1-------------- 1— -*— 1
------
3 f-
3
g r ^ m i i = »r r r- ■mm=^ J. «=r
3E
- f 5- --------- ^
LlI'U i m m
i i f c m
45"
|p - r H jrf"T r 7r r'r r ^
3 3
tf
M -
— ■ $
3
is? — »— =, . - K - . m - — i r>rrr*rr*rrtrl
*[ | TYl|n
1 LI" 1 M ' L^fr"-
if? f f
5&
t i hr - „ 9 SJTr i f r t t f . — . 1.1
- - i^j
3
“S
■":S
et
— j—f —X
V— » E = ^ m =
rrf^.. tr= 1 f n 1Fr. .,J r r j r r V r i. i

* «* . L
L f f
ifr- * Hr V f *r f r 1TH,J r i
y= r >---------
’■Hfl
:z
f v »| _1—i ___e_ I .......... lz___n.—
rrf=r V p=p- p ^ .. <. . r f f f ‘f - f ■lT i

j = — -—
3 H — L i= L
Q .
►
^ — =
*■
— J — _________ | T
Reproduced with permission of the copyright owner. Further reproduction prohibited w ithout permission.
129
• r r r
3
T- ^
6©
f l - y - »r, = t = k r ■*T— f— -■—L _ ----
p -J T 1 LJ
—?" -tE------
r ^l.-i , i u . L r lr f^ .f.rto
*■ 3 3
^ ........ f-
J.—i---- V—
[&■■-iP ■ " f;=lf ffc=

f4 N
= = =--j——
r ■ f —^-ii
1
1
irf.
U ih a
------------------------- ,
..ip. |T> r ----

v ? f r~i 1
fr.LJ T LJ— . LL l=f■■
K*
>
^ ------- *1------- ---------
—l— I-------- *— - f f ------- f
7O
T - «r r r r
- = t i ~ U , —
$ = L_t=J --1 1 1 H L ~ t r ^
rf-*"
K.
JL
* p p _ __ _
fr f - f^ - P - > ---- r4
= L = j ------—
y 1 -■
■Ft H I
131
IfeT^ u u
t o iu f i
7r
U-#— k
p
3 3
|jj|
-b-
te E = l
_ . . ,.f - -
eEt r t=^ Jii.p.f p_r■iterr

-l . _ | i-b tfy ii
3
s 3
L ^ rr ---------- t!^p ---------
133
qo
—f
—s—
p i -tt
:z
I1 1 >'< y \
In?— 7 '
r
- r
;- --^ t— ff ri—*
1—-fc.) -=■
=i p
-A-
•X
r - ■ ,T TC
9 *---
r
tf-r i - . h,. -=F- #%i_J= =f=J a b

y-r * ^ ' Ed :
• te'■—N
yC— !_£53- - - - _-4-J-
^ I- f|t— VI— 1 = * - =- =- .<- e*- .- ^
— .\
g -| I, P If=— tL_Lf ■f -F- ■- - =— — ^=q
t= ± ± J "t
I.
U L
iw
►*L-
'H - p
V
im*
134
kg
t s - . r n L. , - r r f r Y \—
=1f— = — ± :t i L kr r V
F =L F_ == = i
fr- 14 r T - P ^ i-i
- 3
3
>f— - L t i C
to
Y f f - r t r
- I p -----------
4 - 1---------------------
£*- ™ -------------------
1---- ]/L---- i
f-P— f I’P f
U|l--- !-------------------------------- J L 1 ■■ 1--J ■
a ..
A . ■ f t - i f
1 s
135
JO S ’
— n - . t r [J O i^ r - P r r f r T r r f t e
— f - — ........ if
¥ --------
fS- t J ~ - f r f f T—f- l r f r r f f t, f. ?
1 - .................. .... ..................................... ....
— ■
l£ =
II0
(S- r f •Pr t r f r p r f r
l J 1111 p g « - j •••7 p Q j- m -
-f , 3 f
f e s s T a n -s-tef
sp— *-----------------= - ----------------- L _ L j
b*-* x-
JL
---- ►
—
- - f t « t r —
t* i ' i - y“7—
=4b*— ------
J L 1----- -------- i — L --
US"
itf-I P f r f ■ — — -» . i . h J -] r . f . t r. ^ = j
9 = ^ M a U 1 L=* = t = M ■J J Ci-F-t M
■
3
3 3 3
£
_ J « ------------------------- f f -------------- f
f *
J------- 3 ------ , 3 ------ »

,------
i------ 3
-■ P ■ p --- :F— r— F------
P r £ = r
f p r = H
------ J ~7_____
♦ i
__r
3
APPENDIX E
"UP WITH THE IARK"

by Jercme Kern and Leo Robin

The Paris Concert; Edition I
(Elektra 60164-1) 1979
139
Up With The Lark

Jerone Kern/Leo Robin
« < i
■j-1 " a
?7
G* P7 fmin*
IS-
^ J“3 m m
<V\j7 £b7 AK*p xt>7
140
ft- [ - 1 = 1 J ■ q JLpj----------- " T Z ^ -------

09— ----- f— — r* =j
'T • ■
B 7 frMtH7
30
B ? J T M '
s--- ^ h-. - -
Bb7 £/+tin7
fr" > >' > ------ ^— * ---
3S"
141
Ao
tf— 1 I — 1---1---1-- ----- i---1—
— **---------
-- ■-- J--
P/Wi«y £ W 7 Crî7 &>
So
i -f— =------- u. ---

= H = j= r
Dmin7 d m *] 7
<s7
— ■ i
g — ■
,Z1— 4 — £.__ r ■
142
Up With The Lark

Solo by Bill Evans
L m n . p i
t o
- - W - t J
♦ k •-
... •r r
--- f - T -------
£ |------ 3 ------------? 3
r r r ii
3 ~ £
-3---- )
[hj.-. f >r |1■^m 1

r m3i f
q—3-,
--------- — f
143
IO
I IS ’
*
8va
► 3t Jl'" . K.
E.h
rr i i i f t i c :
= = i
r =
B.
»■
/I 7-
F F F f Fff
► k*-
§>■ hF F
■ > j—
M ' 7 1
iJ
'JL
I I
m m
3 1 20
t Y H r i u ^f4= T^ri
Jk. JL
•t i> ------------------
(Up
ss- ^
*■ it
f f ?v44
,r - *lp f ■■ ►
r
U Mm -
fr .: ^ ^ n .
JL— I --------------- { — — -----J --2p-- zzz
..... l | f = = = = . r t .=
40 l£ _ i
B~t f *e_ f t f . y I — t=fep==i
- P -----p
9 r 1
b _ 't
T W
f f
— u-j
n
i-
= r v ¥ >
r =| [ J
n
c J
f f
r ■ r r r f z j *
L L T 1— 1
i
4t_~ J y •ft.,. if-

61! j ^ ■ t . -
-- 1— ^ M = = = ± = t :
■V
4*
1i £ - tp n n - c n n, ff ift. f j
f f - U - ™ ' —
==£
* 7 I? *
t-r
1
, . i ^
1Z
L
f---- 1__ \
L_i____
gtm_ r 1 f i r . * = i = f= -----* -~
S' — = ^ = a =
■ r n ■
-J s J
f
b f -
py
A
— ff
7— 5
r ^ - — .-
------ 1
.— iy -»ft
|-------- y-J— *— * 3 ^
v j , - f
Sb
& = f4 Q r Q - . —
i-s» k n — . »— i h
^ - b r - = -y — c J
- f - f - P f —
-
■m
•■
•
■ ■ =1.1
147
,.n_T] | ,Jr&r r i i n
m m *
„ , „ m
I
t*>
•*' • * f
b f
■r £r * M
---- •— 3--------- T * -
i
\
148
rr r r~h*~r~
r~
nr r i 11
r_f 7
T11 ■Ju V
i-- 3-- 1
3 3 3 3
T---^ r r
7S"
O P r=g=iu - b T r ^ t if r-p. »>=i

F=^ t= ^ =
3
§»■ . hpr-
— — ..
kr |LB ■"
M: J r 7 -^-—- ..
150
t>
ra----------- ■ ■■ ■—
3 -
i t i---- Fj- ^f f:f-: pfcfY l
■rfr-T-il
3 3 3 3 3
—£— - f - = if--
r y ' =#= k 1 * =>
ifc'rfrrf ■\?-r rp ,-ff.

ff—r - 3 &=F 3
F=b =aM
w— L1
-! L====|
p 1^ -1 l>
loo
.L
■f V f-^=t f==H!=F*£
b
f= t =t j =ET ' !=La
3 3
rt; j »
—
:.t j- .1*t =^F
— —
/-— Z
— :V -*=-
.l 3
|H = —r-f=f=T~f~'Mjtri =W 5"
1. » 1
f=bk±= Es =
3 3 3
3
__J -
9sp=
152
tDXj-
I
l 1
Hi' J:
m m
153
U S '
HF
£
\20
ll IiLI
*
laS’
I T 1 " M l
. J. 'I
* - r i f t
k r U p U J
154
f t i l i I
m
. 8ua
13® ,>
b ^ c-
IJ
i
a-!#tjf<*Irrfry | ^
A it n
155
=*E=t» pip 3
F - r [_r
_---4—is
^ —
-----z--f
V- — l i—
14 ------
140
itf— h — u m p? i j —
P Lf LT
J—►
t
4 = ff ■kf "i—f
--±---
Z Z L . h t f , *
J- V— I ---1
jfp—p—p—p—P fH= r¥f¥= ,£ir_i£-g-r

l?£—p— — "U J i
H j u 1 3 = L J
----- —
JL £
~--- if--------- ■► :----------
=■— 7 |
/
145" .
U i u
rj. f r ^ 4 =
[iJ
^
■•ft
r
U - t J ---- ^
t ~ u n ^
.p. -- aB-:
. --
----- = M v ,i, —mB- —a —
Pr-P-T = v 7 T r' =£=* 7 / *
---- * % = ? . ., jw±=F#F=I
4—
tM 7 — -- *-T—
x ___ \r k»
r
f ,-f -
hnH-S^t==
157
\bO
■*Pp-
i
V
I i f t
ibr
m
m M
f
til m
SELECTED B3BLIQGR&PBY
PgHnrtirals
Aikin, Jim. "Bill Evans." Contemporary Keyboard 6 (June

1980):44-45, 50, 52, 54-55.
"Bill Evans" (obituary). Downbeat 47 (Decsriber 1980) :11.
Evans, Bill. "Letter to the Editor." Downbeat 80

(October 1980):8, 70.
Feather, Leonard. "Bill Evans: The Gentle Giant."

Contemporary Keyboard 6 (December 1980):14-15.
Franksen, Jim. "Bill Evans." Jazz and Pop 8 (Novoriber

1967):15-19.
Hentoff, Nat. "Introducing Bill Evans." Jazz Review 2

(October 1959):26-28.
Hicks, David. ”9/15/1980." Perspectives of New Music

(Spring/Summer 1980) :2-3.
Israels, Chuck. "Bill Evans (1929-80): "A Musical

Msmoir." Musical Quarterly 71 (#2 1985):109-115.
Keepnews, Orrin. "Bill Evans: The Early Recordings."

Contemporary Keyboard 6 (December 1980) :15.
Knox, Keith. "Bill Evans." Jazz Monthly 12 (October

1966):5-6.
lees, Gene. "Bill Evans: The Pianist and the Man."

International Musician 63 (January 1965): 10-11.
159
______. "Bill Evans: Seventeen Years of a Jazz Giant." High
Fidelitv/Mnsiral America 26 (February 1976): 16-20.
______. "Inside the New Bill Evans Trio." Downbeat 29

(November 22 1962):24-26.
Lyons, Len. "New Intuitions." Downbeat 43 (March 11

1976):12-13, 36-37.
______. "Piano Panorama: Insights into the Ivories."

Downbeat 44 (March 10 1977):18-19.
Manskleid, Felix. "Bill Evans Discusses the Jazz Scene."

Jazz Monthly 6 (July 1960):10-11.
JYfehegan, John. "Bill Evans." Jazz Efeaazine 4 (January

1965):5-7, 22-23.
MDrgenstem, Dan. "The Art of Playing." Downbeat 31

(October 22 1964): 14-16.
"Music: Singing Piano." Time. March 2, 1962, p. 47.
Nelsen, Don. "Bill Evans.” Downbeat 27 (December 8

1960):16-18.
Ramsey, Doug. "Record Reviews: Bill Evans." Downbeat 39

(March 1977) :23, 26.
Spector, Michael. "Bill Evans." Contanporary Keyboard 3

(March 1977) :24-26.
Tynan, John A. "Natural Flow: The Bill Evans Trio."

Downbeat 32 (June 17 1965):20-21.
Books
Baker, David. Jazz Improvisation: A Comprehensive

Method of Study for All Plavers. Revised Edition.
Blocmington, IN: Frangipani Press, 1983.
160
Balliett, Whitney. Such Sweet Thunder. New York:
Bdfcbs-Eferri 11 Publishing, 1966.
Berendt, Joachim E. The Jazz Book. Translated by H. and B.

Bredigkeit with Dan MDrgenstem. New York: Granada
Publishing Limited, 1983.
Feather, Leonard. The Book of Jazz. New York: Horizon

Press, 1965.
______. The Encyclopedia of Jazz. New York: Horizon

Press, 1960.
Gridley, Jferk C. Jazz Styles: History and Analysis. Third

edition. Englewood Cliffs, N.J.: Prentice-Hall, 1988.
Haerle, Dan. Jazz Improvisation for Keyboard Players.

Hialeah, Florida: Columbia/Studio PR, 1978.
______. Jazz/Rock Voicinas for the Contemporary Keyboard

Player. Lebanon, Indiana: Studio PR, 1974.
______. The Jazz Language. Hialeah, Florida:

Colunbia/Studio PR, 1980.
Jaffe, Andrew. Jazz Theory. Dubuque, Iowa: Win. C. Brown

Company Publishers, 1983.
Larsen, Peter H. Turn On The Stars: Bill Evans. The

Complete Discography. Copenhagen, Denmark: Peter H.
Larsen, 1984.
lees, Gene. Mset Ms At Jim & Andy’s. New York: Oxford

University Press, 1988.
Lyons, Len. The Great Jazz Pianists. New York: Quill

Press, 1983.
Mantooth, Frank. Voicinas for Jazz Keyboard. Winona, MN:

Hal Leonard Publishing Corporation, 1986.
Martin, Henry. En~iovina Jazz. New York: Schirmer

Books, 1986.
161
Mahegan, John. Contemporary Piano Styles: Jazz

Improvisation IV. New York: Watson-Guptill
Publications, 1965.
Qstransky, Leroy. Understanding Jazz. Englewood Cliffs,

N.J.: Prentice-Hal], 1977.
Russell, George Allan. Lydian Chromatic Concept of Tonal

Organization. New York: Conception Publishing Company,
1959.
Taylor, Billy. Jazz Piano: A Jazz History. Dubuque, Iowa:

Win. C. Brown Company Publishers, 1983.
Tirro, Frank. Jazz: A History. New York: W.W. Norton and

Company, 1977.
Interviews
Keane, Helen. Helen Keane Management, New York, N.Y.

Interview, June 21, 1988.
Nethercutt, Ron. The Bill Evans Archives, Southeastern

Louisiana University, Hammond, LA. Interview, July 21,
1988.
' Dissertations/Theses
Smith, Gregory. "Honer, Gregory, and Bill Evans? The

Theory of Formulaic Composition in the Context of Jazz
Piano Improvisation." Ph.D. dissertation, Harvard
University, 1983.
Uttefback, Joe. "The Jazz Piano Style of Bill Evans."

D.M.A. thesis, University of Kansas, 1979.
162
Miqir
Bill Evans Piano Solos. Ifew York: Acorn Music

Corporation, 1965.
Bill Evans Plays. New York: Ludlow Music, Inc.
Bill Evans 3. New York: Ludlow Music, Inc.
Bill Evans 4. New York: Ludlow Music, Inc.
Bill Evans, the 70*5. New York: Ludlow Music, Inc.
Record Albums
Evans, Bill. The Bill Evans Album (Columbia C-30855,

1971).
_____ - Hie Paris Concert: Edition I

(Elektra 60164-1, 1979).
. Since Ws Met (Fantasy F-9501, 1974).
. Sunday at the Village Vanaard (Riverside RLP- 9376,

1961).
. Trio *65 (Verve V6-8613, 1965).
V IT A
NAME: Stolen Barth Widenhofer
PIACE CF BIRTH: Fort Wayne, Indiana, U.S.A.
DATE CF BIRTH: October 25, 1951
FAMILY DATA: Lferried to Debra Lynn (nee Bouman)

Widenhofer. Children: Brittany Lynn
and Marc Stephen.
EDUCATION: University of Northern Colorado,

D.A., 1988
Ball State University, M.Mus., 1980
Ball State University, B.S., 1974
EXPERIENCE: MLllikin University, Decatur, IL

Assistant Professor of Music, 1983-
Chair, Jazz and Contemporary Madia
Studies
St. Paul's Lutheran Church, Decatur,
IL
Minister of Music, 1985-
Central Christian Church, Decatur,
IL
Staff Organist, 1983-85
University of Northern Colorado,
Graduate Teaching Assistant, 1981-83
Free Lance Musician, 1970-
PROFESSIONAL
CRGANIZATICNS: American Federation of Musicians
National Association of Jazz
Educators
American Guild of Organists
Music and Entertainment Industry
Educators Association
Pi Kappa Lambda
American Musicological Association

Bill Evans An Analytical Study

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Bill Evans An Analytical Study

Uploaded by

Copyright:

Available Formats

INFORMATION TO USERS

The m ost advanced technology has been used to photo­

The quality of th is reproduction is dependent upon the

Oversize m aterials (e.g., maps, drawings, charts) are re­

Photographs included in th e original m anuscript have

University Microfilms International

B ill Evans: A n analytical study o f his im provisational style

Widenhofer, Stephen Barth, D.A.

Copyright c!988 by Widenhofer, Stephen Barth. All rights reserved.

The Graduate School

BILL EVENS: AN ANALYTICAL STUDY CF HIS IMPROVISATICNAL

College of Performing and Visual Arts

Fall Semester, 1988

Advisory P r of essor______________ ^ \ u < y L j _______

Faculty Representative « ~ t __________________

DEAN OF THE GRADUATE SCHOOL

Examination Date of Dissertation November 4, 1988

STEPHEN BARTH WIDENHQEER

ALL RIGHTS RESERVED

Widenhofer, Stephen B. Bill Evans: An Analytical Stucfy of

The purpose of the study was to analyze Bill Evans'

In each transcription, Evans displays a consistently

Grateful acknowledgment is made to Professor James S.

"All of You" Words and Music by Cole Porter

"Israel" by John Carisi

"Since We Mat" by Bill Evans

"Up With The Lark” by Jercme Kern and Leo Robin

II ANALYSIS CF WORKS ................ 15

III STYLISTIC I N T E R P R E T A T I C N ........... 63

A "ALL CF YOU" .................... 78

C "T.T.T. (TWELVETCNETUNE) ” . . . 103

D "SINCE WE MET" ................ 118

BIBLIOGRAPHY ............................ 158

Bioaraphi ral .Rtet-r-h

With Bill Evans* untimely death in 1980 the

. . . in today’s terms, he was the first "modal"

^Joachim E. Berendt, The Jazz Book, trans. H. and B.

There can be little doubt that Bill Evans is one of

2Billy Taylor, Jazz Piano: A Jazz History (Dubuque,

^Dan Morgenstern, "The Art of Playing, " Downbeat 31

4Jim Aikin, "Bill Evans, " Contemporary Keyboard 6

I heard the fellows in this group building their lines

To me, it's a constant food of inspiration and

^Don Nelsen, "Bill Evans," Downbeat 27 (December 8,

Gjohn Mfehegan, "Bill Evans," Jazz Magazine 4 (January,

7Gene Lees, "Inside the New Bill Evans Trio," Downbeat

9len Lyons, The Great Jazz Pianists (New York: Quill

IQLeonard Feather, The Book of Jazz (New York: Horizon

Mundell Lowe, who as a very professional guitarist

llQrrin Keepnews, "Bill Evans: The Early Recordings,”

At the time I thought I was inadequate. I wanted to

l^Don Nelsen, "Bill Evans," Downbeat 27 (December 8,

^Leonard Feather, "Bill Evans: The Gentle Giant,"

outstanding example of small jazz ensemble cohesiveness.

What we tried to do was loosen up everybody's role so

When it began to sink in, we . . . we didn't know what

1-^Qrrin Keepnews, "Bill Evans: The Early Recordings,"

l-5jim Aikin, "Bill Evans," Contemporary Keyboard 6

I believe in a steady group. I believe in a group

l^Gene Lees, "Inside the New Bill Evans Trio,"

17Jim Aikin, "Bill Evans," Contemporary Keyboard 6

Johnson and drummer Joe LaBarbera. This particular group

with Conversations With Myself (1963). Additional Granny

The m ost advanced technology has been used to photo

Oversize m aterials (e.g., maps, drawings, charts) are re

Advisory P r of essor________ ^ \ u < y L j _