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Hi everybody,
in these days i'm studying Bill Evans' tune called "Waltz for Debby", a beautiful song in 3/4, but there's something that i can't understand.
The score which is on Real Book, has 20 bars on the part 3, the last part of the tune, but listening the recording it seems that there are 22 bars instead of 20!
I don't know if anybody could help me!
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10-19-2022 02:19 PM
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I think Bill often repeated those two bars near the end of the form, if you listen to a version with lyrics (see Bill with Tony Bennett) it'd be "They will miss her I fear but then so will/ Miss her I fear but then so will I"
Originally Posted by Fra88
Builds a bit of tension under the pedal point and then gets swinging for the solos.
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Also this version seems 80 bars instead of 78! Originally Posted by mr. beaumont
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I'd count it as 40 bars, but the form is correct here, does not contain that added "tag" I mentioned above...I like it as a 2/4 bossa feel. Originally Posted by Fra88
I'll check my Real Book when I get home and see what's missing. Do you have an old one or a Hal Leonard "Sixth Edition?"Last edited by mr. beaumont; 10-19-2022 at 03:26 PM.
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No i have the old version! Originally Posted by mr. beaumont
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Ah, it is fraught with mistakes...apparently that might be one of them.
At any rate, trust your ears...now just to figure out what's missing!
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This any good for you? It seems pretty complete.
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Yes Thank You Originally Posted by ragman1
This any good for you? It seems pretty complete.
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I've found this analysis on internet:
"The tune is 80 bars long. It has an AA1BC construction, where the A and B section are 16 bars each, and the C section is 32 bars.
Strictly speaking, the C section comprises the first 10 bars of A, a further 10 bars that in essence are a variation of A, and finally 12 bars that resolve the melody.
However, Evans elides the final 12-bar section of C to 10 bars and uses it as a transitional passage to move into 4/4.
This is achieved so subtly that many listeners are unaware of what has happened and think the whole performance remains in waltz time.
This is because LaFaro plays a highly embellished "alla breve" time in 4/4, which echoes the compound time feel of the main body of the theme spread over the previous 68 bars leading-up to the transistional 10-bar passage.
At the end of bar 78 of the now modified first chorus, there is a subtle shift in the harmonic backdrop for soloing as the form changes to a 40-bar ABC construction with A and C 16 bars each plus a B section of 8 bars.
The harmonic movement of the revised ABC section is distinguished by a frequent use of II-V progressions, probably the most definitve chord movement in the mainstream of jazz.
Evans takes three choruses on the revised form, followed by LaFaroand a return to the main 80-bar theme in 3/4."
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What I like is the way the inversion line on the chords goes down... and down.
G - F - E - Eb - D - Db - C Bb - A
Nice :-)
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I can’t abide the parallel octave in the otherwise very elegant counterpoint of this tune. It just bugs me. I always have to change that note.
i think I’ve spent too long in the c18…..
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The confusion may be caused by the fact that there are two slightly different versions of the tune, the one with lyrics (by Gene Lees) and the instrumental version that Bill Evans plays.
Bill goes into 4/4 time in his second ending (and back to 3/4 in the Coda), and so it has 10 bars rather than the 12 bars of the first 3/4 ending. The Bill Evans Fake Book has both versions, I could post the lead sheets later if you like.
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Attached are the two leads sheets (instrumental & vocal versions) from the Bill Evans Fake Book and a chord melody I did of the song using Evans choice of chords whenever possible.
Last edited by Mick-7; 03-21-2024 at 05:31 PM.
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