País portátil / Rubén Blades

Obrigado Brazil &Yo-Yo Ma / 2003

Cesar Camargo Mariano-Obrigado Brazil

Dave Brubeck Quartet / Brandenburg Gate (1963)

Dave Brubeck Quartet  / Brandenburg Gate (1963)  

European Jazz Trio / Preludes op.28-4 (Chopin)

Hiromi Uehara / Sicilian Blue

Osibisa – Woyaya

Mind trips / THE BRAND NEW HEAVIES

Skaleidoscope / Makin Love/ NYSJE

Chano Domínguez / Flamenco Sketches

Omar Sosa / Fabriciano Con Changó

VenezuelaDemo

Catálogo discográfico de músicos independientes

Buika/ El Ultimo Trago/ Simples Cosas

Pat Metheny - A Map of the World

Dave Grusin - Two for the Road

Fourplay - Esprit De Four

Tania Maria with Eddie Gomez - Tempo

Eli &Winton Marsalis / Little Red-Haired Girl

Abe Rábade / Tres Palabras

Caribbean Jazz Project / The Gathering

Earl Klugh / All Through the night

Trevor Rabin / Anerley Road / Jacaranda

Lionel Loueke / Ami O

Hiromi Uehara / Now or Never

Paulette McWilliams & Tom Scott - Telling Stories

Chick Corea – Continents- América

Peter White / the Look of Love

Anita Baker – Angel

Hilario Duran / New Danzon

Branford Marsalis Quartet - The Ruby and the Pearl

Arturo Sandoval - Speak Low

Leo Gandelman / Pérola negra

Lalah Hathaway / where it all begins

Omar sosa / promised land

Fragile / Kenny Barron & Regina Carter

Billy Hart / Duchess

Monty Alexander / Compassion

Days of Wine and Roses / Poncho Sánchez

Angel Eyes / Abbey Lincoln

Con Alma / Toots Thielemans

What's New (Bob Haggard & Johnny Burke)

In A Mellow Tone / Duke Ellington & Milt Gabler

Composed by Duke Ellington, with lyrics written by Milt Gabler  

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Caribe / Michel Camilo

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Samba em prelúdio / Baden Powell & Vinicius de Moraes

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Harmonic Analysis/Example / test I

Peri´s Scope/Montreux II/Bill Evans/Jazz/1970

"Peri's Scope" is a perfect model to initiate a discussion of two-handed piano voicing principles that are root oriented. There are three rules or directions to follow:

1. Use the root third and seventh under the melody; 

2. Omit the fifth of the chord; 

3. For added, optional color, add a ninth, eleventh, or thirteenth

Observe in all of the examples that the root is always the bass note and above the root you place the third, seventh, and melody. The voice leading alternates—EX. 1: R (root), 3rd, 7th leading to R, 7th, l0th in measures 1 and 2; or R, l0th, 7th leading to R, 7th, l0th in measure 3— depending upon the root movement. In this tune the root movement is mostly down a fifth (or up a fourth, i.e. II-V, III-VI of measures 1 & 2). I call this the diatonic cycle of fifths, and since "Peri's Scope" does not modulate to another key, I rate it as a very imaginative diatonic composition for that reason. Bill had a composer's ear for variety and learned how to effectively use secondary dominants (see measures 7, 8,14,15,16 & 20). This makes Peri's Scope a challenge to the improviser. The challenge is unique because you meet the secondary dominants in different ways and in different parts of the phrase.

For example, in EX. 2 below, the IIIx (E secondary dominant seventh) lasts for two bars (7 &
8) and it's the climax of the first phrase of the tune. It's very sudden. It jumps out at us.

Jack Reilly****