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Mcgill Richard Thomas 2021 ORIGINAL COMPOSITIONS INSPIRED BY THE GENIUS OF BILL EVANS’ COMPOSITIONS RICHARD THOMAS MCGILL A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO OCTOBER 2020 © RICHARD THOMAS MCGILL 2021 Abstract This dissertation analyzes diverse compositions by Bill Evans to create a deeper understanding of his creative methodologies and techniques. The knowledge gained generated the ‘musical data’ which inspired my creation of a collection of original compositions for solo piano. Evans’ musical style is considered by many jazz aficionados as a benchmark standard that greatly influenced the evolution of jazz. His knowledge of the four centuries of music preceding his works was broad and his compositional “techniques were of the highest intellectual order” (Reilly 2010, ix). Unlike many of the jazz professionals of his day, he was academically educated and achieved a Bachelor of Music degree at Southeastern Louisiana College (Shadwick 2002, 51) with later graduate studies in composition at Mannes College of Music (Pettinger 1998, 24). Evans composed over fifty original works and received much critical acclaim, including seven Grammy Awards, eleven nominations, a Grammy Lifetime Achievement Award in 1994, and induction into the Downbeat Hall of Fame in 1981. In this dissertation, Evans’ composition techniques were explored to identify trends and patterns to lead to a deeper understanding of his methods. The first step was to select diverse works for intense study from Evans’ fifty original pieces. The in-depth musical analysis used the LaRue model to analyze sound, harmony, melody, rhythm, and growth (i.e. SHMRG); Schenkerian analysis to investigate the structure; and a unique data-driven methodology to compare chord/scale relationships. The selections chosen for analysis covered a broad range, from the more obscure to his best known characteristics, including an up-tempo swing, a slow ballad, a ¾ time waltz, an atmospheric narrative, a modal piece, and an atonal tone-row composition. He was considered a master of romantic ballads and love songs in ¾ time. His music creates lyrical atmospheric ii narratives that are entrancing, often at slow rubato tempos. His compositions are known for their changing tonalities, shifting phraseology, complex harmonic development, and melodic evolution. He was a master of musical growth from simple to complex structures. The distillation of Evans’ technique through this in-depth analysis of seven pieces was an enlightening experience to advance my compositional skills, and a powerful inspiration for my seven original compositions. This dissertation expands the knowledge in the field of music as follows. Evans use of formulaic composition is explored with examples presented with respect to melody, rhythm, harmonic logic, and elaboration. The use of Schenkerian analysis on the seven inspirational pieces is unique and identifies the formulaic structure of these pieces. My creative processes are also shared and presented in parallel with my seven original pieces. Evans genius extends beyond the analysis of these seven compositions. Limitations of this dissertation and for future study are the following topics. The analysis of his interpretive, collaborative, and improvisation methods. A more data driven approach could be explored such as the techniques in the work of Kenny where the motif patterns frequencies were tabulated (Kenny 1999, 192). These methods could be extended to patterns of the composed motifs, as well as rhythmic or harmonic structures. Evans published more than another forty compositions with various levels of embedded compositional methods which are also for future study. iii Dedication To a couple of good friends, Glen and John … a constant reminder that life is short … live it every day. iv Acknowledgements I would like to thank my supervisor, Michael Coghlan, and advisors Sundar Viswanathan, Ron Westray, and Al Henderson for their guidance through the dissertation and the comprehensive and directed reading processes. Thanks also to my early life mentors, Ella Donaldson, Joe Herdman, and Gary Tomlin, who sparked my musical interests in my youth. Twenty years ago, I returned to my musical passion, and I would like to acknowledge my mentors Howard Rees, Roddy Elias, Steve Koven, and Mark Eisenman for their guidance in this phase. I also thank my parents for instilling in me the spirit to follow my dreams. I extend special thanks to my wife and best friend Louise for her support through my endeavours. Finally, thanks to my proofreaders, Stan Smrke, Paul Reichert, and Paul Corner. v Table of Contents ABSTRACT ............................................................................................................................................... II DEDICATION .......................................................................................................................................... IV ACKNOWLEDGEMENTS ........................................................................................................................ V TABLE OF CONTENTS ........................................................................................................................... VI LIST OF TABLES.................................................................................................................................. VIII LIST OF FIGURES ................................................................................................................................... IX GLOSSARY.......................................................................................................................................... XVII 1 INTRODUCTION ............................................................................................................................. 1 1.1 RELATED LITERATURE ................................................................................................................... 3 2 BILL EVANS BACKGROUND ........................................................................................................ 7 2.1 BIOGRAPHY AND INFLUENCES ........................................................................................................ 7 2.2 IMPACT........................................................................................................................................ 11 2.2.1 As a Performer .................................................................................................................... 12 2.2.2 As a Composer.................................................................................................................... 15 3 COMPOSITION SELECTION PROCESS FOR TARGETED ANALYSIS ...................................... 17 4 MUSICAL ANALYSIS METHOD.................................................................................................. 22 5 FIRST INSPIRATION .................................................................................................................... 29 5.1 MUSICAL ANALYSIS OF “ONE FOR HELEN” ................................................................................... 29 5.1.1 SHMRG Analysis (Sound, Harmony, Melody, Rhythm, Growth) ......................................... 29 5.1.2 Reduction ........................................................................................................................... 35 5.2 ORIGINAL COMPOSITION: “THE OTHER ONE” ................................................................................ 37 5.2.1 SHMRG ............................................................................................................................. 37 5.2.2 Reduction ........................................................................................................................... 42 5.2.3 Original Score ..................................................................................................................... 43 5.3 CHORD/SCALE RELATIONSHIP COMPARISON ................................................................................. 45 5.4 COMPOSITION METHODS SUMMARY FOR INSPIRATION ONE ........................................................... 46 6 SECOND INSPIRATION................................................................................................................ 47 6.1 MUSICAL ANALYSIS OF “PERI’S SCOPE” ....................................................................................... 47 6.1.1 SHMRG ............................................................................................................................. 47 6.1.1 Reduction ........................................................................................................................... 56 6.2 ORIGINAL COMPOSITION: “STETHA’S HOPE” ................................................................................. 57 6.2.1 SHMRG ............................................................................................................................. 57 6.2.2 Reduction ........................................................................................................................... 61 6.2.3 Original Score ..................................................................................................................... 63 6.3 CHORD/SCALE RELATIONSHIPS .................................................................................................... 65 6.4 COMPOSITION METHODS SUMMARY FOR INSPIRATION
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