Bill Evans: Minor ii–V–i Phrase Analysis, Part 1

How can a short line create such a convincing sense of motion? Let’s study a phrase drawn from a Bill Evans performance, moving through Em7♭5 → A7 → Dm.

The complete phrase

The line rises stepwise over Em7♭5, creates tension and a descending contour over A7, then resolves to a Dm chord tone.

Em7♭5 | Ascending through Locrian

The melody moves mostly stepwise through the E Locrian sound. Without large leaps, the upward direction alone provides momentum into the dominant chord.

A7 | Altered tensions and chord tones

Over A7, the phrase descends by combining altered tensions with fundamental chord tones. In scale-degree terms, the outline is ♭9 → 1 → ♭13 → 3 → ♭9 → 1 → ♭7. The altered tones add tension; the root, third and flat seventh give the line structure. Rather than treating tensions as isolated colors, listen to how they connect with the chord tones.

Dm | A clear chord-tone resolution

The phrase lands on a simple Dm chord tone. The contrast between tension over the dominant and a clear arrival on the tonic minor chord gives the line its shape.

How to practice

1. Play each chord segment slowly on its own
2. Name the A7 tensions and chord tones as you play
3. Connect the three segments without losing their directional shape
4. Transpose the idea into other minor keys

Watch and listen

I created both the Instagram reel and the YouTube video presenting this phrase. Listen first, then return to the notation and trace the note choices.

Analysis, notation images and video production: Seiya Matsushita / Pivo Music School. Educational analysis of a phrase from a Bill Evans performance.