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Donald Wolcott
TEST #2
NARDIS

The song Nardis was originally composed by Miles

Davis, but performed and made famous by
Bill Evans. It exhibits a 32 bar AABA form. It is
considered to be a modal jazz song, as its
harmonic structure is based o the E Phrygian mode.
The main distinguishing characteristic of
ts modal nature is the prominence of the Fmaj7
chord. This chord in the context of an E minor
onality is a very strong indication of the Phrygian
mode. While it has many instances of modal
harmony, Nardis shows how modal harmony can work
n conjunction with functional harmony
as well. One example is in the second half of the B
ection, the music temporarily tonicizes C
Major, using a traditional ii V I progression. Another
example is the modal mixture exhibited
near the end of the A section, where an E major chord
s used within an otherwise E minor
onality.

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As an improvising musician playing this song, E

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Phrygian is, in theory, the most useful scale for

oloing
NARDIS ANALYSISover the A sections. However, in practice, Bill
Evans
by donaldgw
much preferred to utilize the E
on Apr 21, 2015
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natural
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minor and E melodic minor scales on his
ecording of the song on his album
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Explorations. For the B section, Evans often uses the
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Lydian scale on the rst half, then on
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he second half, C Ionian and occasionally C

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Symmetrical Augmented. Other scale options

nclude E half-whole on the A sections, and A melodic
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minor on the B section.

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Donald Wolcott TEST #2 NARDIS The song Nardis was originally composed by Miles Davis, but performed and made famous by Bill Evans. It exhibits a 32 bar AABA
form. It is considered to be a modal jazz song, as its harmonic structure is based o the E Phrygian mode. The main distinguishing characteristic of its modal nature is
the prominence of the Fmaj7 chord. This chord in the context of an E minor tonality is a very strong indication of the Phrygian mode. While it has many instances of
modal harmony, Nardis shows how modal harmony can work in conjunction with functional harmony as well. One example is in the second half of the B section, the
music temporarily tonicizes C Major, using a traditional ii V I progression. Another example is the modal mixture exhibited near the end of the A section, where an E
major chord is used within an otherwise E minor tonality. As an improvising musician playing this song, E Phrygian is, in theory, the most useful scale for soloing over
the A sections. However, in practice, Bill Evans much preferred to utilize the E natural minor and E melodic minor scales on his recording of the song on his album
Explorations. For the B section, Evans often uses the F Lydian scale on the rst half, then on the second half, C Ionian and occasionally C Symmetrical Augmented.
Other scale options include E half-whole on the A sections, and A melodic minor on the B section.

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