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Evans takes advantage of the nature of the whole-tone scale and tritone substitution to complete this cycle using a descending half-step motion. In a typical Bb rhythm changes tune, the bridge begins on D7 and continues to G7, C7, and F7 before resolving back to Bb.
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This week we will look at the the way Bill Evans uses harmony and rhythm to create a unique statement on the bridge of Sonny Rollins’ tune “Oleo.” (This recording is on the album Everybody Dig’s Bill Evans (1958) featuring Sam Jones on bass and Philly Joe Jones on drums).
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The harmony commonly follows a cycle of dominant chords, each resolving down a fifth (or up a fourth), and the tension created by this progression provides fertile ground for melodic inventions. The bridge section of the musical form known as “rhythm changes” is a perennial improvisatory playground.
- Garland often plays four or more measures of solid eighth-notes without rests, but when he does rest, it feels just right.
- My instinct is that these are the “intended” notes but the tempo does not allow for them to come out cleanly.
- I have placed brackets around a few notes where the connecting notes are not heard clearly and probably not played at the recorded tempo.
- Chord tones are often approached from above and below by chromatic neighbors.
- frequent use of enclosing chromatic notes.
- most of the solo takes place below middle C on the piano.
- This excerpt is taken from the beginning of Garland’s solo on the tune Oleo (a popular “Rhythm Changes” tune by Sonny Rollins). The album Relaxin’ With the Miles Davis Quintet was one of several albums the group recorded for Prestige between 19.
Stylistically, he is known for his block chord style, but for this week’s transcription we will look at an example of his virtuosic 8th-note lines. Red Garland was the pianist for Miles Davis’ group that became known as the First Great Quintet.