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Introducing Bill Evans
by Nat Hentoff
Peace Piece – A Study of Tranquility and Turbulence Part 6
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 or atonality here, however I disagree with that assessment. Over the tonic-dominant ostinato, Evans plays a melodic line, one might even suggest it’s a “lick,”…
Peace Piece – A Study of Tranquility and Turbulence Part 5
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 follows. The serene nature of the piece begins to unravel as the pianist introduces a striking G5-F#6 dyad that is prefaced with a G5 grace…
Peace Piece – A Study of Tranquility and Turbulence Part 4
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 moves from the open-fifths motif to a theme consisting of minor thirds; each third, E5 – G5, is prefaced by a grace note. Of particular…
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This Quiet Fire 