Measures forty-seven through forty-nine exhibit a greater sense of dissonance than Evans had experimented with since the onset of the improvisation. Some writers have suggested that he is employing bi-tonality…

Evans approaches this section, a four-bar phrase, with a familiar, descending arpeggiation of the tonic chord. The 7th of the CMA7 serves as the third of the dominant harmony that…

I chose to isolate these five measures since they provide a final sense of serenity prior to the tumult that will follow. In the first bar of the excerpt, Evans…