Bill Evans Chord Progressions (was Bill Evans Chord Voicings)

Hi Everyone,

Great thread on Bill Evans chord voicings especially the replies from Jim, Adam and Marvin...Now that we all understand how to voice chords like Bill, I propose to continue the thread by asking the group to explain how Bill's chordal progressions were formed. We all can spot his Circle of 5ths progressions ie. C#m7-F#7-Bm-Em-A13-Dmaj7 or ii-V-I ie. Am9-D9-G6.

I guess my real question is what is he doing the rest of the time with the chord progressions.

Thanx in advance,

I used to think that Bill Evans stuff was all in the chord progressions. But later I looked at the standards he covered, and most aren't complex at all. Even Waltz for Debby, probably his most famous composition, is just a I-vi-ii-V in the A section, and a couple modulations in the bridge. Really, he does most of his stuff over simple stuff like ii-V-I. I'd look at what he plays over those simple changes.

Hope this helps, Adam

As far as I remember there is a good transcription of an Evens-piece (Peri's Scope) in John Mehegan's Jazz Improvisation : Contemporary Piano Styles Vol. 4.

It's worth analyzing it for some time to get an impression of his voicings (LH shell style, rhythmic approach, etc.).

Norbert

For example, he will voice a major 7th chord like this; top to bottom, bflat eflat g d. He will use a substitute diminished 7th like this; top to bottom, c aflat eflat a natural.

I have always felt that endless chord substitutions and alterations however ingenious they are, are so much baggage in a great song.