JAZZ PIANO / MINOR II–V–I · 05
Bill Evans Minor ii–V–i Lick Analysis 5 | Beautiful Love Finale
The final installment of our five-part analysis of Bill Evans Trio’s “Beautiful Love” from Explorations (1961). This phrase highlights a D major upper-structure triad over Em7(♭5) and a simple resolution.
Watch the performance | Instagram Reel
Listen along with the notation to hear the rhythmic shape and voice leading.
Full phrase
Em7(♭5) | Using a D major upper-structure triad
The phrase begins on A on the third note of a quarter-note triplet, then moves through B♭, D and F♯. Excluding B♭, A–D–F♯ are notes of a D major triad. Over Em7(♭5), D is ♭7, F♯ is 9 and A is 11. A major triad built on ♭7 creates a colorful upper structure, related to the Locrian ♯2 sound. B♭ is the chord’s diminished fifth.
A7 | Root and flat ninth
A (root) and B♭ (♭9) provide a concise dominant sound. The sparse material contrasts with the previous bar and creates tension leading into D minor.
Dm | Descending chord-tone resolution
The descending line relies mostly on D, F and A, the chord tones of D minor. B♭ can be heard as a passing note from the D natural minor scale.
Key takeaway
Em7(♭5) brings upper-structure color, A7 reduces the material to root and ♭9, and Dm resolves through a mostly chord-tone descent. The contrast between color and simplicity shapes the phrase.
Beautiful Love | Complete five-part series
Compare all five transcribed phrases from the same Bill Evans Trio recording.
Online jazz piano lessons
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