Harmony #4 – Triads B

In this post about harmony I'll be exploring Gil's use of triads with an "added note". We tend to hear a triad as a complete harmonic "unit", so when another note is added that isn't typical it has a compelling sound or dissonance. Las Vegas Tango - Introduction The most obvious use of this technique … Continue reading Harmony #4 – Triads B


Harmony #4 – Triads A

The next couple of posts will be about Gil's use of the triad (major and minor). Evans was known for his rich and lush harmonies, but he often used a simple triad for harmonization or a simple musical idea. Prelude to So What Not everyone knows that this introduction was written by Gil. It's a … Continue reading Harmony #4 – Triads A

Re-composition #1 – Will O’ the Wisp

Gil Evan's was well known for his ability to take fragments of melody or harmony and make an entirely new piece from them. Some of his arrangements became so different from their original that the term re-composition becomes more appropriate. Whilst Will O' the Wisp from Sketches of Spain is quite recognizable from the original piece … Continue reading Re-composition #1 – Will O’ the Wisp

Orchestration #5 – Tutti Voicings

Comparing Gil's tutti voicings with other composers So a true analysis of the vertical sonority can take place the examples in this post are taken mostly from tutti moments containing little or no counterpoint. Audio examples below. Springsville - bar 130 (end of shout chorus) This climactic voicing in Springsville is very bright and dramatic. … Continue reading Orchestration #5 – Tutti Voicings