![]() I’ve listened to the recordings on the playlist above and captured the harmonic moves I hear in the various choruses. You are welcome to listen to my ➡️ playlist⬅️ of recordings of this song by Evans. When he recorded the same tune without bass in duet with Tony Bennett, the key was Bb, which seems to support the story since ➡️ the singer would not likely mind which of the two adjacent keys were chosen. You can listen to their rehearsal tape on which they try various keys. ![]() One theory is that he chose this key to allow the bass to use open strings thereby creating a more resonant sound, but I don’t know whether this was the reason. It stayed in his repertoire a long time.īill Evans chose to play this tune with his trio in the unusual key of A major. Versions by Bill Evansīill Evans recorded it in 1961 with his trio and later with Tony Bennett in 1975. These moves above seem to be the only harmonic interest in the original song and both might go unnoticed without the finesse of Evans described below. Another song that uses bVI7 is Out of Nowhere.Īs shown by the Roman numerals and arrows, secondary dominants are used to propel us to II, IV, V and VI. In the original 1950 Jenkins recording, one chorus uses Gb7 (from Cb major, Bb Locrian) and another uses Gbmaj7 (from either Bb harmonic minor or Bb natural minor, Aeolian). This can be viewed as modal interchange (M.I.), being borrowed from another mode rooted on Bb.
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