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containing: - 3 phrases each sequence - 3 rhythmic variations - 13 phrases -14 modulations, 7 each section
Very Early
Bill Evans
Very early is constructed harmonically using the first 5 degrees (first tetrachord) of the chromatic scale; B,C,Db,D,Eb
m.1,2,3,... = modulations
It seems Bill Evans has purposefully created these constant I- V7- I cycles, perhaps trying to avoid typical II-V-I ? Tonality: starts in C, ends in B - Constant modulations rhythmic motif constructed in mirror: half note-quarter note / quarter note-half note
Section A contains principal tonalities of C and D, beginning of every sequence Section B contains principal tonalities of B and Db, beginning of every sequence
{
{
{
keeping the tonality of C in each phrase, except *the last note (G going to C) each phrase has the same melodic shaped movement The beginning and the end of the sequence have the same chord changes.
* 3 &4
*
I
phrase 2
n
V7 A7b9
m.2
sequence 1 I ? 3 C^ 4
phrase 3 b
VII7 V7 B7
m.1
E^
whole tone step down
& ? & ?
b
tritone distance
VII7 B74
I D^
V7 m.3 G7(13)
I C^
Clever idea to create slight variations on the melody at the end of the A section before repeating from the top phrase 4
phrase 5
VI-7 II-7 Fm.5
b
V7 B7b9
sequence 2
m.4
I D^
VI-7
rhythmic variation 1
13
&
phrase 6
b b J b
V7 A7(13)
m.6
A-7
1.
rhythmic variation 2
III-7 ? E-7
I D^
tritone distance
m.7
V7 G7sus4
V7 G75
m.7
{
{
{
18
&
B #
phrase 7
n
V7 A79
m.8 rhythmic variation 1
Very early
b b J
V7 B7(13)
m.9
sequence 3
I ? B^9
I D^7
22
&
#
I
phrase 9
I C^ V7 A7
m.11
? B^ b
I D^
phrase 10
V7 G7(13)
m.10
26
& ?
V7 G7(13)
m.12
phrase 11
{
{
I C^7
b
VI7 A7
m.13
30
& ?
phrase 12
n
IIIC^/E
r
V7 G7 I C^
IID-
IV F^
V7 G13
34
&
Because of constant modulation all through the song it seems here that Bill Evans tries to contrast it using a chord sequence that is 100 % of the tonality
IV F^
V7 G7
phrase 13