Transcriptions - Peace Piece - submitted by EdByrneUsername:Password:TranscriptionsPeace PieceMore InformationDepartmentsEdByrnePeace Piecesubmitted:2008/11/06 10:35:08revised:2008/11/12 09:19:32Excerpted from The Influence of Claude Debussy's and Maurice Ravel's Music on Jazz, as Seen in the Compositions of Bix Beiderbecke, Bill Evans and Miles Davis, by Ed ByrneBill Evans’s “Peace Piece”Just prior to his association with Davis, Evans recorded an extemporaneous modal composition entitled “Peace Piece” for his LP Everybody Digs Bill Evans. Recorded in December 1958, four months before Davis’s Kind of Blue, it is in Martin Williams’s opinion, “a remarkable ostinato tour de force, an improvisation as good as some of the carefully wrought French impressionistic sic compositions which in part inspired it” (35-36).In “Peace Piece,” many of the stylistic musical manifestations of Debussy and Ravel are apparent: modes and other scalar collections, pc transpositions, pc mixtures, and tonally nonfunctional chord successions.
- Bill Evans changed some characteristics of the primal version and kept them in all or most of the later versions. In an idealized and well playable version. In order to make it playable for piano solo I have incorporated the bass into th.muellerhofheim@gmx.de.
- Herbie Hancock and Keith Jarrett.Keith Jarrett:various transcripts Song Recording 1.Someday my prince will come Still live 2.When I fall in love 3.Lover man Tribute 4.Blame it on my youth Melody at night,with you 5.Be myPiano transcription from 'Last Solo' video. Keith Jarrett (Transcription). Bill Evans' solo on 'Night and Day' - Duration: 3:11.
Posts about George Benson written by Bigsby. Jazz Transcriptions An online forum to share transcriptions. Email pdf files to nickfryermusic@gmail.com. About; Search for: George Benson George Benson’s solo on “Clockwise (Alt. Take)” (Matthew Meldon). Bill Evans' solo on 'Solar' (Matthew Meldon) Advertisements.
Bitonality, quartal harmony, parallelism, unresolved melodic and harmonic tensions, and pedal point also exist in this piece; and there is also a lack of resolution of the leading-tone in cadences. Based entirely on a double pedal point of C and G, “Peace Piece” is accompanied by two oscillating chords, CMA7 and G9 sus4(no 5), that together create a diatonic accompaniment comprised of a diatonic hexachord (C, E, F, G, A, B).
Jim Aikin’s transcription, published in Contemporary Keyboard (46-49), will serve as the basis for my analysis of “Peace Piece” (Example 2). “Peace Piece” contains a variety of pcs and modes of the kind found in the music of Debussy and Ravel.
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Bill Evans Solo Transcription
They all occur over the double pedal point, creating pc mixtures and a pc transposition in the process. The C ionian mode can be found in measures 1-43, 51-57 and 68-76. C is established as the priority note through the C pedal that recurs throughout this piece. A pc comprised of F#, G, B, C#, D# and E# is sounded over the C diatonic accompaniment; and a pc collection comprised of Ab, A, B, Db, Eb, F and G appears in measures 48-49. A pentachord consisting of E, F#, G, A and C is played over the pedal in the first two beats of measure 50; and Evans plays a quintachord comprised of G, Ab, B, Eb and F in the second half of measure 50.Parallel non-functional chord successions can also be found in “Peace Piece.” Parallel ascending trichords (G, Eb, F#), (A, F, G#), (B, G, A#), for example, are apparent in measures 58-59. There is a tetrachord comprised of C, Db, D# and E in measure 60; and a quintachord consisting of F#, G, A, Bb and B appears in measure 62.