![]() If you find this transcription useful please consider making a donation using the button in the menu. I think it just goes to show how deep Bill’s relationship with the tune really was, a standard all musicians should hope to rise to. Check out how in measures 1, 5, 13, and 17 Bill starts his phrases on a concert D, the same note as the melody. I think the last thing that’s really impressive about this solo is how Bill is able to use bits of the melody as a springboard for his improvisation. In my opinion, this is where this chorus peaks, where as a listener you’re at the edge of your seat, but the interesting thing is that it occurs at the very end of the second A section and leads us into the beginning of the final C section. Another great example of this occurs in measure 24. He begins his phrase on the I chord, where most players would end their phrase, and builds it into his next phrase which then starts on the ii chord in measure 9. Take, for example, his line in measures 7-9. ![]() Examples: What constitutes a phrase? How many notes do you have to play in order for a phrase to be complete? How do you know when a phrase ends? How do you follow one musical idea with another idea that builds off the last idea? How can you make a whole solo feel organic and spontaneous, even when you’re incorporating ‘licks?’ Something to think about.īill’s solo over “Here’s That Rainy Day” really shows how much freedom he had in his phrasing. These kind of thoughts also lead you to questions that don’t necessarily have cut and dry answers. I’ve been interested in how players break their phrasing out of this mold in a way thats both logical and intuitive. I’ve found that in my own playing many of my lines start at the beginning of a harmonic cadence (such as a ii chord) and end at that cadence’s resolution (such as a I chord). More recently, I’ve been digging back into this solo because I’ve really been interested in phrasing and motivic development, something that Bill really has a much better handle on then I. It felt, to my young ears, that Bill Evans was really trying to emote through his improvisation, something I still feel to be true. If I remember correctly, I really dug this solo because at the time it just seemed very melodic. ![]() This was one of the first handful of transcriptions I did about six years ago during my short time at UNT. I thought this week we’d take a quick look at the first chorus of Bill Evans’s solo on “Here’s That Rainy Day” off of his solo piano album, Alone.
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