Evans does this with variation as well as introducing a complementary moving upper voice in measure fourteen which I find most appealing. Measures thirteen and fourteen include one of my favorite devices for introducing motion into static harmony in which the lower voice moves under the sustained A minor harmony (B-A-G#-G). I like the use of the B13 (V/V of A minor) on the first beat of measure ten. Measures 10-14: Similar to the original with the move into the relative minor (Am). Measures 8-9: Instead of the original G7 to C, Evans introduces B7 to temporarily move into E minor (iii) as a substitute for the tonic C (I). Measure 7: Where the original is a simple Dm7, Evans enhances this with a ii-V which includes the tritone sub for the ii (Bb7). Evans does a most interesting progression in which he first moves from F to B7#9 (dominant of E minor), then to the tritone sub for E minor (Bb13) before finally reaching the A7 or dominant of D minor in measure six.

Measures 5-6: The original is a standard move from F to D minor through the use of a ii-V-i in D minor. Measure 4: The ii-V of F major is maintained with the exception of the tritone sub for C7 (Gb13) on the fourth beat.

Measure 3: Rather than simply staying on the tonic, Evans uses the altered dominant (G7alt) on the second half of the measure before moving to the Gm7 in measure four. Measure 2: The tritone sub Ab13 replaces the Dm7 (ii) functioning as a V/V substitute. Measure 1: Evans introduces the secondary leading-tone diminished seventh chord (G#dim7 or vii/vi). Download the pdf at the bottom of page containing the basic changes as well as Evans’ changes and follow along. It should give you lots of ideas in terms of what can be done with what originally was a simple tune with simple changes. I think you will enjoy this, I know I did.

I really struggled with a lot of the harmony and I am sure there will be some revision as I said earlier. I included a couple of the fills Evans used where possible (measures twelve and sixteen). Some of my favorite examples are in measures twenty-three where the bass and melody are moving in contrary motion, measures twenty-seven and twenty-eight where we have the beautiful descending/ascending lines and the harmonization in measure twenty-nine and thirty. Notice how Evans thinks melodically and sometimes contrapuntally while comping. It would be best to find a basic lead-sheet version of this tune and compare it to this transcription. Evans was known for his fantastically creative use of chord substitution and embellishment and this is certainly no exception. I am certain this will be an evolving transcription as I hear more and more each time I listen. At least I know it works well with the vocal although I am not 100% sure of the changes. The changes to this tune are rather generic so the techniques learned from this example could easily be applied to many tunes with similar changes. My goal was to transcribe the accompaniment to “Young and Foolish” by Horwitt and Hague in a way that maintained the changes and voicings Evans used but was playable on guitar. 1926) and thought how wonderful it would be if I could back up a vocalist like he does, but of course using the guitar. I was listening to a recording of Bill Evans (1929-1980) accompanying Tony Bennett (b.

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