![]() I decided to write the transcription in a time signature of 2/4. I made a sketch transcription of the melody of the first chorus of the first recording, just to see what harmonisations he chose so that I could write my own similar arrangement of another folk tune for Burns Night here in Scotland. He uses the occasional inversion and passing chord to add his usual finesse and elegance, but not too much and it is not hard to understand. The second is the family of turnarounds that get us from chord I (or III) back to chord I.The first is the family of chord progressions that get us from chord I to chord IV and back to I the To IV ’n’ Back family.Taking a 10,000 foot view, Bill Evans uses just two harmonic concepts to harmonise Danny Boy. This second recording is longer (almost 11 minutes), explores more keys and contains some soloing. But it is not playable on the Spotify version of that album. According to Wikipedia, it is available as an additional track on the CD version of the album Time Remembered. There is a second recording by Evans of this song, but it is not so readily available. That version has Evans playing it once through in two keys (Bb and G) and is therefore a short track (3:40). His 1962 recording was released by Verve on the Empathy album. A video of my reharmonisation of another folk melody is shown below. You can add as much or as little of his extra complexity as you like. The underlying harmony is so simple, it is a great song to take through the keys. I’ve always been fascinated with Bill Evans’s version of the traditional Irish song, Danny Boy.
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