These 16 bars from Bill Evans are a masterclass in voice leading

Reader,

I told one of my students last week that I was on a serious Bill Evans kick. He laughed and said, "I've been on a Bill Evans kick for 30 years." Fair point!

I'm obsessed with 16 bars of his solo on Emily. It's a mini-masterclass in smooth voice leading, perfect rhythm, and colorful target notes.

Here’s exactly why I can’t stop listening…

Join our workshop this Friday

This week we're reviewing our scale running approach by applying the same ideas to a new tune, Georgia on my Mind. This will give us a chance to handle some new situations, as well as to add a new scale to our arsenal.

On Zoom at 1pm Eastern, this Friday, March 28.

Today's 2-5-1

Each week I share 2 transcribed phrases, 5 ideas observed from 1 featured jazz recording.

Here are 5 observations I have about this tune as a whole.

1. Bill is the king of voice leading. Look at how each phrase starts where the previous one ended. It creates such a smooth transition, and overall sweeping gestures.
2. The triplet lines are where its at! With so much of this line based on 8th notes, the triplets create rhythmic interest to keep you engaged.
3. I know I mention this all the time, but it's worth repeating. Look at the range covered by each of his phrases. In just a 1-2 measure phrase, he covers 1.5 - 2 octaves.
4. Look at which notes Bill uses to start and end his phrases -- his targets. More often than note, its a colorful chord tone (3, 9, or extension) rather than the roots or fifths.
5. Like the bebop artists who inspired Bill, his use of chromaticism in this solo is largely chromatic approaches or enclosures.

This week on the YouTube channel

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3 Levels of Jazz Harmony on Over the Rainbow