![]() you have to be able to play freely and keep time at the same time. the bass player can't just play quarter notes and the drummer can't just play swing pattern all the time. because you need people who are willing to be a lot more free in their playing. ![]() It's also not an easy piece to play as a trio. mostly because you really need to give a lot of space in the playing. This piece is not hard to play technically but for me its a very tough piece to play musically. he was master of block chord voicings and he uses them effortlessly. Ĥ) and like others have said, he chord vocabulary is amazing. sometimes his patterns are based on 3 note or 6 note hemiola, or in other words, he is play 3/4 over 4/4. He might place the patterns in different parts of the beat, sometimes across bar linesģ) Bill solo is also very rhythmically complex. he might repeat the pattern in different intervals, or make a variation of that rhythm. if you transcribe & analyze his solos you'll find out that he will use a lot of rhythmic patterns. it might help to learn about bebop and how Bud Powell played to get an idea of where Bill is coming from line wise.Ģ) Bill's Solos are very thematic. Bud Powell was a big influence on him, and you can definitely hear that in his lines. I am not an expert but I can suggest few things.ġ) Bill has a very solid bebop vocabulary. I guess if you want to really play in Bill Evan's style. And LOTS of right hand and inner melody (left hand). I apply all my textures to it, Ravel type chords (inverted triad over triad, with upper structure in right hand lots of left hand arpeggios that lead into left hand counter melodies around the middle register Herbie Hancock and Kenny Barron type voicings rootless voicnigs.etc. I treat the melody as a sketch, not really neccessary to play it, much like Blue In Green. I treat each chord as an episode, not a bar of 4/4. I tend to play it rubato for the most part. Time Remebered is all minor seveth chords and major 7th #4 chords. Http:/ / watch?v=XvDxOpyHono&feature=relatedįor me it's like a "flow of consiousness" type of piece, not a ii V I piece. Http:/ / watch?v=Rz9j3ePtVaI&feature=related The other version I have heard lately is by Kenny Werner and Toots Thielemans. Bill Evans' versions usually start rubato solo piano intro and then the trio comes in and they play it in that broken time feel, like a syncopated cut time. I even practiced playing the changes backwards from memory. I play Time Remembered almost every day, it is the tune I am focusing on lately. I think you should take this Bill Evans composition, study carefully the melody and harmony, and then play it how you feel it should be played. They, you are simply treating this piece like classicial music and attempting to imitate a performance.īill Evans, like any jazz great, took pieces by other composers, and interpreted them in his style. I'm not sure if one exists, but there is a good chance you can find one as many of his pieces have been trascribed. ![]() The other approach would be to find an actual transcription of a Bill Evans performance. Amateurs like me try to take this music and play it in the style of Evans, but feel free to add our own elements. Indeed, a real musician would consciously attempt to stay away from anything that imitated Bill Evans interpretation. This is the sheet music how jazz musicians would use, and they would feel free to interpret it any way they like. Indeed, what is written may not even be 100% accurate. The lead sheet give a melody and chord changes, and nothing else. Time Remembered can be found in Volume I of the Real Book, the most common fake book used in jazz. There are two types of "sheet music" in jazz, and thus two approaches.
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