![]() ![]() ![]() 6 and 7 for further analyses of Motifs 1 and 2. Now he has the opportunity to create melodic FIGURES on the intei:vals of a Major 2nd, minor 2nd, minor 3rd, and Major 3rd (EX. Because of this rhythmic complexity, the inner “logician” tells Bill to narrow the range. To make this clear in my analysis, I have rewritten these FIGURES in 6 / 8 meter (EX. every other quarter note is placed on the” and” of the beat. SA), as the climax or high point of “Peri’s Scope.” It is the dotted quarter note, however, that is secretly exploited by alternate syncopation, i.e. It reappears in measures 13-16, the second part of phrase two, where Bill the composer fully exploit it (EX. The syncopated FIGURE in measure 7 is not unique. Measures 1-8 comprise phrase one measures 9-16, phrase two measures 17-24, phrase three. And that is precisely how we can identify the end of one phrase and the beginning of another. How does he reveal this? By following the” g#s” with six beats of rhythmic space: silence! Now he is able to make a new breath. It is in this measure that Bill reveals to us that he is inwardly singing. ![]() How does he rhythmically treat these “g-sharps”? By holding the first one for one and one-half beats and syncopating the second one. Evans do? He lets the” composer” step in, and in measure 7 he writes not one, but two” gsharps,” the first chromatic note of the piece (EX. Why? They all hover around the pitcli “g”! What does Mr. With all of this incredible melodic and rhythmic variation.so far (measures 1-6), the DIRECTIONAL TONES hint at monotony. ![]() His ear immediately picks up on the sixteenth notes, so we get more of them in the very next measure! (EX. a quarter-note triplet for the first time (EX.Then in measure 5, Bill offers another VARIATION in the rhythmic pattern of measure three by introducing sixteenth notes and Oh, yes, the range of Motif 2 is one octave. There is an inner “logician” at work here, the mind of the composer. Are these relationships accidental? I don’t think so. This last syncopated note of motif 2 is” g,” the same pitch that begins “Peri’s Scope”! And it’s also an eighth note! The rhythmic silence or space in measure 4 lasts for two beats, the same amount of rhythmic space that separates Motif 1 from Motif 2. The interval leap of a perfect fourth he expands to a perfect fifth that is, he leaped from “d” to “a.” The syncopation he shifts to the “and-of” 4, measure 3, and again on the” and-of” 3, measure 4. Bill’s V ARIA TI ON of the four note scale pattern results in a broken scale pattern in thirds. Motif 2 is a development and repetition of the melodic and rhythmic figures of Motif 1. lE) which give Motif 1 its uniqueness and announce that “Peri’s Scope” is a jazz composition! I have found six different ways to break down Motif 1 into FIGURES. But it’s the rhythmic, syncopated figures (EX. These are the memorable melodic features of Motif 1. The melodic figures are one lonely eighth note, a “g” on the first beat, rhythmic space or silence for one and one-half beats, a descending four note scale pattern, 11 g” to II d,” and an ascending interval leap of a perfect fourth, 11 d” to II g.” The DIRECTIONAL TONES and range are easy to calculate, 11 g” down to “d,” back up to “g.” The range is a perfect fourth. PHRASE-a complete musical thought, like a sentence in English (in this piece, 8 meaSures). RETROGRADE-the theme or motif played, or repeated backwards.īASIC SHAPE-usually the first idea which generates the whole piece. INVERSION-an ascending pattern that later descends, and vice versa.ĪUGMENTATION-an increased time value according to a ratio (three eighth notes become triplets, etc.).ĭIMINUTION-a decreased time value according to a ratio (eighth notes become sixteenth notes). A dotted quarter followed by an eighth note is a rhythmic figure Bill uses continually in “Peri’s Scope.”ĭIRECTIONAL TONES-the range and contour (high and low points) of the theme the main pitches that outline the theme. New books being added regularly.VARIATION-a change in some of the less important features of the motif and the preservations of some of the more important ones.įIGURE-a smaller rhythmic and/ or melodic feature of the motif that is repeated throughout the piece.Transpose printable composition or download, save Real Book Melody & Chords Bass Clef Instruments PDF. Responsive book design, so things look great on mobile too Bill Evans Peris Scope sheet music notes and chords.Quick search, note taking and bookmarking for easy reference.Fast loading desktop and mobile experience.Upon purchase, you will be provided with an accessĬode and a link to Hal Leonard's MyLibrary site, where you can view your digitalīook along with supplemental audio or video where applicable. Hal Leonard Digital Books are cloud-based publications, which are streamingĪnd require internet access. Who Can I Turn to (When Nobody Needs Me).Song from M*A*S*H (Suicide Is Painless).The ultimate collection for jazz keyboardists to learn 40 Evans classics with exact note-for-note transcriptions. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |