![]() ![]() ![]() In general, one of the most traditional devices, especially over any iim7 chord(in this case, Fm7), is the usage of the major 7th degree(E-natural). In bar 4, Hall marks the change with a Db, and in bar 12, he uses the more traditional language when traveling down from another Db via a slur to an E-natural which most clearly says C7 to everyone. One of the most important elements in negotiating any set of 'turnaround' changes is how you observe the VI7 chord, in this case C7(alt.). If we look a little closer at, with his usage of the Cb the b5 of F-minor, it's almost as if he is playing the change which appears, in reality, at. You can hear this during in bars 1-3, 7-8, 9-11, 12-16 during 1-4, 9-12(a ii-V to C major), and 13-15(ii-V to Eb major) and in in bars 1-7. Jim Hall's one chorus solo is fundamentally very diatonic as many of the ii-V-I passages to Ebmaj are approached with melodic content derived from the Eb major scale. But I would imagine that this was something that they would have discussed beforehand, because too much respect must have existed between these two great masters. It's remarkable that both approaches work. | Cm7 / Cm7/Bb / | F/A / Fm/Ab / | Gm7 / Db7 C7(#9) | / C7(b9) / / |Īgain, it is important that you contrast this with the changes Bill Evans is using. || Fm7 / Gb7(#9) / | F7(#9) / Bb7(13) Emaj6/9 | Ebmaj6/9 / Ab7(13) / | Gm7 / C7(#9) C7(b5)/Gb |Īnother interesting example of this takes place during bars 9-12 of where Hall employs a nice descending bass line: A perfect example of this would be if you compare these changes, played by Jim Hall from bars 1-4 of with the ones which I have labeled that Bill Evans plays on the transcription. Hall executes his accompaniment in this context by, most likely, having his Gibson ES-175 mic'ed while he comps in a Freddie Green-esque style. One of the more fascinating aspects of their performance is that Jim Hall plays a different set of changes under Bill Evans' solo and under the melody than what Bill Evans plays in support of Jim's solo. However, there is also a little to the which I chose to label as as it does, at the very least, repeat the title phrase, "I've Got You Under My Skin." These sections are followed by what I have chosen to label as a section, which could also be seen as having 16-bars. This particular Cole Porter standard has its own oddities which makes labeling the form a bit tricky. However, it is also possibly, though it would have offered a technological challenge, as editing was a more complex feat with tape then and that is, they might have begun by playing the melody but after listening back, perhaps it was, on some level, flawed and they all decided to simply edit it out. On the other hand, they would have certainly been fearless about taking a different approach and perhaps agreeing to structure the piece as it now appears. I have no particular historical information about the recording of this tune, but when there are two players with such a great love and respect for melodies, it is hard to believe that they would not have stated it first. What is possibly most curious about this particular performance is that it commences with Jim Hall's one chorus guitar solo, which is followed by Bill Evan's one chorus piano solo and then, after that, the melody is finally stated. Here, I've selected Hall's solo over Cole Porter's " I've Got You Under My Skin" for presentation and analysis. Both recordings embrace the great American Songbook by covering standards from Gershwin, Rodgers & Hart, Ned Washington, and Van Heusen & Burke. And so, ironically, in the Spring of 1966, they enter Rudy Van Gelder's studio and recorded " INTERMODULATION"(Verve). Add to that their great musical dignity, it would have been a great, great shame had they never recorded together again. When Bill Evans and Jim Hall originally recorded " UNDERCURRENT"(Blue Note) in the Spring of 1962, there was no question about the fact that it was a work of lasting beauty by these two masters of melody, harmony, and improvisational development. New books being added regularly."I've Got You Under My Skin"(Cole Porter).Responsive book design, so things look great on mobile too.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. ![]()
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