You have done a phenomenal job transcribing this particularly rich version. I take my hat off to you Sir. Thank you for posting. Being able to see on sheet music how Bill Evans thought his music is a privilege.
Probably the most touching, pretty, uplifting version of this tune I've ever heard. Despite the poor sound quality, I've listened to this many times. Always amazingly fresh and exquisite.
Reply to myself: Bill played this shortly after LaFaro's death. Bill said "I can't comprehend his death." Such a devastating loss. Bill is remembering LaFaro here, with all the complex emotion he's feeling. Even the title may be significant: All the Things You Are. (Sadly, Were) Beautiful reflections on a kindred soul who is gone. Still, Bill wants to carry on. As he plays, Evans gets jauntier, heftier, brighter, ending on very high notes. This is a very profound testament to HOPE.
I feel that way about a lot of the recording he did around this time, such as at Shelly's Man Hold, Undercurrent. There's this real sense of freedom and delight with his own playing.
What an amazing job! Thank you so much for your work and your generosity by sharing all this material. Our world is getting better and better with each of this kind attitudes. Blessings and all the best!
Wow - good job on the transcription! What fantastic and creative from Bill, and amazing syncopation. Like what Marian McPartland said to him, that playing with him was like swimming against the tide!
Such is the rhythmic brilliance of the interplay between LH and RF, that I'm beginning to understand why I like his solo piano so much, and I'd go so far as to say, that his trio recordings suffer from the fact that his rhythm sections (no matter how brilliant) can't quite get into his brain.
Thank you so much William! For those interested, this links to the pdfs www.mediafire.com/folder/u5kcbn4a207sm/Bill_Evans_-_The_Solo_Piano_Recordings%2C_1956-1963
That E add9 at 9:19 sure sounds a lot like Christopher Cross' "Arthur's Theme" melody at measure 7. I always wondered if that song borrowed a little from All the Things you Are
Does anyone really think that Bill would have been consciously playing with the time signature like that? 2/4, 3/4, 5/4, 3/8, 5/8,... and so on. It seems like an artifact of the transcription process, rather than a reflection of the music. Surely there's a way to notate the transcription that can account for rhythmic freedom without changing the time signature every couple of bars? I don't say this as a criticism. I recognise how incredibly hard it is to transcribe this kind of music. I'm just curious if there's another way.
Yea you can just notate in 4/4 and leave the rest to the performer. Much harder to notate and follow along when it's written this way, and it does not help the player but restrict them. Since jazz is an aural art form you don't need to put everything on the page.
This sheet music makes me cringe for that exact reason. Bill wasn't even remotely thinking about it like this, and yes there are significantly better ways of notating this.
Considering this was a spontaneous improvisation, it's not impossible that Bill simply "missed a beat" on occasions and ended up accidentally playing a bar of 3/4 or a bar of 5/4 here and there. These things are obviously not planned and, if anything, Bill would probably feel like he dropped the ball there missing or adding a beat. I know that for sure happens to me sometimes.
@@rontomkins6727 wtf you talking about ?? bill NEVER MISSED ANYTHING !!!! this is solo piano free improvisation rubato into time back out of time ,,forget trying to put it into 5. 8. 11. 8 ,no ,, bill was the closest thing to a naturally perfect musician ever ,,i knew him ,,did you ??? didnt think so ,,maybe THINK before you write shit you dont know about friend
William, sorry for the silly question comparing to the " Hughes" work you did for transcribing this master piece of our loved Bill: How many hours, how many days of work?Congratulations, hugs , sax and pianist Roberto Sion, Brasil.
Fantastic job! Could anyone explain the 3:2 and 4:3 notation in the sheet? I've inferred it has something to do with polyrhythms but I'm not sure precisely how.
The first number is how many notes there are. The second number is how many notes they're taking the place of. 3:2 means there are 3 notes taking the place of 2
That transcription was great! Just two questions/observations: Why not put the thing in Ab/fmin and save half the accidentals? Just curious. Also - I really got lost in the form in the middle there. Please tell me I wasn't the only one! Do you think Evans was trying to play the form or was he just horsing around?
William Hughes great! A very hard job! I used do this with the saxophone solos but this is easier cause it is just a melody... but chords and especiallg voicings are misleading... thank you very much one more time!
+William Hughes Hi, your work is amazing, thanks you, can you explain to me why the 3:2 instead of triplet? is it because they are grouped in 2 ? thanks you
Indeed - funnily enough, my Finale score has it as Eb, but it had subsequently hidden the accidental. It does that sometimes, for some strange reason. Anyway, thanks for the spot. 👍
Good stuff, but.... it would been a lot easier to read if you have just written rubato and ritard. when needed, instead of all these changes of bars and odd measures which really aren't there. It's as if you were to write in the rubato when playing Chopin. Distracting and unnecessary in my opinion.
+MooPotPie Sometimes I hear people talking about how, yeah, such and such player is technically amazing, but they aren't soulful, or they aren't this or aren't that, and I strongly suspect they're reasoning themselves into a position from which to not be moved by that music as a way of getting back at that performer for being so great. That's the only way I can comprehend not "getting" the most soulful, touching pianist of his century, and the one who most influenced everyone who came after.
Love this ! I've mastered bars 320 and 321... now for the rest...
Those are the hardest measures! 😂
(Timecode reference : 6:41)
Well done! I’m still working on those, it’s taking me ages (have adhd)
You have done a phenomenal job transcribing this particularly rich version. I take my hat off to you Sir. Thank you for posting. Being able to see on sheet music how Bill Evans thought his music is a privilege.
I cannot express the pleasure I had listening to this masterpiece and being able to follow the transcription. Thank you very much!
Probably the most touching, pretty, uplifting version of this tune I've ever heard. Despite the poor sound quality, I've listened to this many times. Always amazingly fresh and exquisite.
Reply to myself: Bill played this shortly after LaFaro's death. Bill said "I can't comprehend his death." Such a devastating loss. Bill is remembering LaFaro here, with all the complex emotion he's feeling. Even the title may be significant: All the Things You Are. (Sadly, Were) Beautiful reflections on a kindred soul who is gone. Still, Bill wants to carry on. As he plays, Evans gets jauntier, heftier, brighter, ending on very high notes. This is a very profound testament to HOPE.
Absolutely incredible. It’s a true gem.
Bill was probably so giddy and high when he played this. Beautifully done, playful, and sweet.
I feel that way about a lot of the recording he did around this time, such as at Shelly's Man Hold, Undercurrent. There's this real sense of freedom and delight with his own playing.
Thank you for doing an unbelievable job at hearing and transcription !!
Well, that broke the time-jazz continuum. What a master work!
What an amazing job! Thank you so much for your work and your generosity by sharing all this material. Our world is getting better and better with each of this kind attitudes. Blessings and all the best!
Just amazing work. Thank you for making me appreciate this piece even more!
Wow - good job on the transcription! What fantastic and creative from Bill, and amazing syncopation. Like what Marian McPartland said to him, that playing with him was like swimming against the tide!
There will never be another Bill
Dont understand how anyone can dislike this
Incredible, I can hardly believe what I see (in relation to what I hear). Dr. Hughes, ur a genius...!
I cant begin to imagine how long this may have taken you but myaelf and thousand of other appreciate the time you spent!
Perfect transcription. Thank you.
Très fort, merci beaucoup !!!
So much golden bop ideas, thanks
This is miracle of piano playing.
Awesome, thanks for posting.
Great job ! Thank you !
So introspective! And he uses the bebop intro! Thanks for the upload!
God bless you, William!
Bill Evans is perhaps the most intellectual pianist !!
Impressive !!
The Maestro of the harmony !!
Pure genius. And a brilliant transcription.
Thanks for this wonderful job!
At last, I could find your complete transcription, amazing perfect.
Thanks very much‼️
Molte grazie.
thanks for doing this
excellent
Wow. Terrific.
Thank you!
Such is the rhythmic brilliance of the interplay between LH and RF, that I'm beginning to understand why I like his solo piano so much, and I'd go so far as to say, that his trio recordings suffer from the fact that his rhythm sections (no matter how brilliant) can't quite get into his brain.
he definitely gets nerfed when he doesn't play solo, but his band mates earn the spotlight too!
Incredible. Love it. Thanks.
I've heard a lot of Bill. I've never heard that. Damn.
thank you so much !
Such excellent work per usual - thanks so much for sharing these transcriptions!
SMH! GENIUS
Masterpiece
Thank you so much William! For those interested, this links to the pdfs www.mediafire.com/folder/u5kcbn4a207sm/Bill_Evans_-_The_Solo_Piano_Recordings%2C_1956-1963
Thanks for giving the much appreciated link. I just heard this for the first time and i was hoping to find the transcription.
2:29 Art Tatum lick
thanks you sir god bless you ;- )
Bill Evans was a genius
Well done! Must have been very difficult to transcribe this
much better job on the transcription than for like someone in love! cheers
2:59 so nice!
Such a fun, unexpected melody, the pure beauty of improvisation
thank you, awesome work! :)
That E add9 at 9:19 sure sounds a lot like Christopher Cross' "Arthur's Theme" melody at measure 7. I always wondered if that song borrowed a little from All the Things you Are
Compliments : great job, transribing this extremely diffcult version.
Does anyone really think that Bill would have been consciously playing with the time signature like that? 2/4, 3/4, 5/4, 3/8, 5/8,... and so on. It seems like an artifact of the transcription process, rather than a reflection of the music. Surely there's a way to notate the transcription that can account for rhythmic freedom without changing the time signature every couple of bars?
I don't say this as a criticism. I recognise how incredibly hard it is to transcribe this kind of music. I'm just curious if there's another way.
Yea you can just notate in 4/4 and leave the rest to the performer. Much harder to notate and follow along when it's written this way, and it does not help the player but restrict them. Since jazz is an aural art form you don't need to put everything on the page.
This sheet music makes me cringe for that exact reason. Bill wasn't even remotely thinking about it like this, and yes there are significantly better ways of notating this.
Considering this was a spontaneous improvisation, it's not impossible that Bill simply "missed a beat" on occasions and ended up accidentally playing a bar of 3/4 or a bar of 5/4 here and there. These things are obviously not planned and, if anything, Bill would probably feel like he dropped the ball there missing or adding a beat. I know that for sure happens to me sometimes.
@@rontomkins6727 wtf you talking about ?? bill NEVER MISSED ANYTHING !!!! this is solo piano free improvisation rubato into time back out of time ,,forget trying to put it into 5. 8. 11. 8 ,no ,, bill was the closest thing to a naturally perfect musician ever ,,i knew him ,,did you ??? didnt think so ,,maybe THINK before you write shit you dont know about friend
@@richiebeirach3671 Sounds like you have it all figured out, buddy
For those asking, here is the Link for all the PDFs:
drwilliamhughes.blogspot.com/2017/03/bill-evans-transcriptions-of-solo-piano.html?q=transcription
The best solo on ATTYA ever. Unbelievable.
Nothing else comes close. Extremely deep emotion, remembering Scott La Faro.
William, sorry for the silly question comparing to the " Hughes" work you did for transcribing this master piece of our loved Bill: How many hours, how many days of work?Congratulations, hugs , sax and pianist Roberto Sion, Brasil.
Fantastic job! Could anyone explain the 3:2 and 4:3 notation in the sheet? I've inferred it has something to do with polyrhythms but I'm not sure precisely how.
The first number is how many notes there are. The second number is how many notes they're taking the place of.
3:2 means there are 3 notes taking the place of 2
아.. 진짜 너무 좋다
Can I get the whole PDF (instead of having to paste all the lines together)?. Tx.
Great job! Where can we get your PDF transcriptions?
good question
In the blog; url in the description. You have to look a bit hard to find them
Greatest musical mind since Mozart
would it be possible to have the pdf file?... great job !
drwilliamhughes.blogspot.com/2017/03/bill-evans-transcriptions-of-solo-piano.html?q=transcription
7:11 Wait, was that a reference to autumn leaves?
Yeah I heard that too
Reminds me of Solo Brad Mehldau From This Moment On
do you have pdf?
Where to get the music sheets?
That transcription was great! Just two questions/observations: Why not put the thing in Ab/fmin and save half the accidentals? Just curious. Also - I really got lost in the form in the middle there. Please tell me I wasn't the only one! Do you think Evans was trying to play the form or was he just horsing around?
I followed the form all the way through, no problem. Horsing around?! More like "eternal creation's eternal recreation".
Hey William, I have a question: to recognize cluster chords you used only your ears or another computer aided system?
Thanks a lot 4 your great job
No computers! - a combination of ears, theory, and physically recreating the scoring at the keyboard...
William Hughes great! A very hard job! I used do this with the saxophone solos but this is easier cause it is just a melody... but chords and especiallg voicings are misleading... thank you very much one more time!
+William Hughes Hi, your work is amazing, thanks you, can you explain to me why the 3:2 instead of triplet? is it because they are grouped in 2 ? thanks you
M. 12, LH, E4 is flat, right?
Indeed - funnily enough, my Finale score has it as Eb, but it had subsequently hidden the accidental. It does that sometimes, for some strange reason. Anyway, thanks for the spot. 👍
Dang, had no idea his LH was so huge! measure 230 an 11th with the 7th!
Most every notable pianist (jazz/classical) could span at least a tenth. I span a #11th but my playing ain't worth shit.
That ending... 😳
Un Mehldau et un Jarrett dans chaque manche!
i cannot hear f#6 in the first chord
where can we get the file on pdf? thanks
this is my email: larroyom80@hotmail.com
Good stuff, but.... it would been a lot easier to read if you have just written rubato and ritard. when needed, instead of all these changes of bars and odd measures which really aren't there. It's as if you were to write in the rubato when playing Chopin. Distracting and unnecessary in my opinion.
few mistakes but still a good work, thanks for sharing
how is this humanly possible??
5:04 Dora the Explorer
Yes
Woah
5:34
0:20
I feel nothing from Bill. It's like a calculous exam in sound.
Wow I'm the complete opposite. I feel so much emotion and expression in this.
MooPotPie I feel from both Thelonious and Bill.
does anyone know lf a copy of these transcriptions avalible rbrowning@elp.rr.com
+MooPotPie Sometimes I hear people talking about how, yeah, such and such player is technically amazing, but they aren't soulful, or they aren't this or aren't that, and I strongly suspect they're reasoning themselves into a position from which to not be moved by that music as a way of getting back at that performer for being so great. That's the only way I can comprehend not "getting" the most soulful, touching pianist of his century, and the one who most influenced everyone who came after.
Alan Edwards Barry Harris, Bud Powell is my go to over Bill Evans though.
5:24