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Donald Wolcott
TEST #2
NARDIS
natural
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minor and E melodic minor scales on his
ecording of the song on his album
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Explorations. For the B section, Evans often uses the
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Lydian scale on the rst half, then on
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Donald Wolcott TEST #2 NARDIS The song Nardis was originally composed by Miles Davis, but performed and made famous by Bill Evans. It exhibits a 32 bar AABA
form. It is considered to be a modal jazz song, as its harmonic structure is based o the E Phrygian mode. The main distinguishing characteristic of its modal nature is
the prominence of the Fmaj7 chord. This chord in the context of an E minor tonality is a very strong indication of the Phrygian mode. While it has many instances of
modal harmony, Nardis shows how modal harmony can work in conjunction with functional harmony as well. One example is in the second half of the B section, the
music temporarily tonicizes C Major, using a traditional ii V I progression. Another example is the modal mixture exhibited near the end of the A section, where an E
major chord is used within an otherwise E minor tonality. As an improvising musician playing this song, E Phrygian is, in theory, the most useful scale for soloing over
the A sections. However, in practice, Bill Evans much preferred to utilize the E natural minor and E melodic minor scales on his recording of the song on his album
Explorations. For the B section, Evans often uses the F Lydian scale on the rst half, then on the second half, C Ionian and occasionally C Symmetrical Augmented.
Other scale options include E half-whole on the A sections, and A melodic minor on the B section.
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