Blue In Green

Introduction to Blue in Green and Kind of Blue

Kind of Blue is widely regarded as a groundbreaking album that introduced modal jazz to a broader audience. Unlike traditional bebop tunes that rely heavily on fast-moving chord progressions, modal jazz emphasizes sustained modes or scales as the basis for improvisation. However, “Blue in Green” itself straddles the line between tonal and modal jazz, making it a fascinating study.

The Mystery of Composition

Though credited to Miles Davis, evidence suggests that pianist Bill Evans may have composed “Blue in Green.” Regardless of authorship, the tune’s harmonic complexity and lyrical melody remain undeniable.

Tonal vs Modal Jazz: Understanding the Basics

Before dissecting Blue in Green, it’s essential to understand two fundamental concepts in jazz harmony: tonal and modal music.

Tonal Jazz

Tonal jazz is based on traditional chord progressions with clear functional harmony. Chords serve specific roles such as tonic (home base), dominant (tension), and subdominant (transition), and improvisation revolves around navigating these changes. Tonal harmony follows a hierarchy, with certain chords leading naturally to others in a predictable way.

Modal Jazz

Modal jazz, on the other hand, uses modes—derived from parent scales but with different tonal centers—as the primary harmonic framework. Instead of quick chord changes, modal tunes often dwell on one or two chords for extended periods, allowing for freer melodic exploration. Kind of Blue is renowned for employing this modal approach in many tracks.

Where Does “Blue in Green” Fit?

Interestingly, “Blue in Green” is primarily a tonal piece with a clear tonal center in D minor and functional chord progressions. Yet, Bill Evans’ modal-inspired voicings and harmonic treatments add a layer of ambiguity and color that blends tonal and modal elements seamlessly.

Unique Features of Blue in Green

The 10-Bar Form

Most jazz standards follow 8, 12, or 32 bar forms, but “Blue in Green” features a rare 10-bar structure. This short form includes a piano introduction, two statements of the theme by Miles Davis, and multiple solos, including two by Bill Evans—an uncommon occurrence on a single tune.

Harmonic Rhythm and Tempo Shifts

Throughout the solos, the harmonic rhythm accelerates: chords move from four beats per chord to two beats, then to one beat, while the drummer maintains a steady tempo. This creates a subtle tension and complexity that contributes to the tune’s ethereal atmosphere.

Melody and Non-Chord Tones

The melody primarily uses notes from the D natural minor scale and related modes, such as Aeolian, harmonic minor, and melodic minor. What makes it distinctive is that the melody often lands on tensions or non-chord tones rather than chord tones, a rare approach in tonal jazz. This adds an impressionistic and unresolved quality to the piece.

Correcting Common Misconceptions: Real Book Errors

The Real Book—a popular jazz fake book—contains inaccuracies in the chord symbols for “Blue in Green.” For example:

• The opening chord is often listed as B♭maj7 but is correctly a Gm7 with a 6th (or 13th) in the melody.
• There is no D♭7 chord as sometimes implied; rather, the bass plays chromatic passing tones.
• The chord changes involve subtle alterations and extensions that the Real Book does not fully capture.

Understanding these corrections is crucial for accurate interpretation and improvisation.

Harmonic Analysis: The Tonal Framework

The tune is centered around D minor and uses a variety of chords drawn from D natural minor, harmonic minor, and melodic minor scales.

Key Chord Progressions

• The core progression is a classic iv-V-i in D minor: Gm7 – A7(alt) – Dm6.
• Non-diatonic chords such as Cm7 (♭VII minor 7) add modal color.
• Chords like B♭maj7♯11 represent the ♭VI major chord with added tensions.
• Secondary dominants and passing tones create voice leading richness.

Relationship Between Parent Scales and Modes

Each chord corresponds to a parent scale or mode, such as:

• Gm7: G Dorian (2nd mode of F major)
• A7 altered: Derived from B♭ melodic minor scale
• Dm6: Can be approached with Dorian or Aeolian modes
• Cm7: Borrowed from modes like D Phrygian or D Locrian

This modal lens allows soloists to explore different tonal colors while maintaining the overall tonal center.

Melodic Analysis: Tensions and Modes

Unlike many jazz melodies that align closely with chord tones, “Blue in Green” features a melody filled with tensions such as 9ths, 11ths, 13ths, and altered scale degrees. This approach reflects Bill Evans’ impressionistic style, which favors color and mood over strict harmonic function.

Characteristic Notes and Avoidances

• The melody frequently uses the 6th (13th), which is often avoided in bebop minor chords other than the tonic chord.
• The use of altered tensions like ♯9 and ♭13 adds a modern, sophisticated flavor.
• The melody’s independence from chord tones creates a floating, unresolved feeling.

Bill Evans’ Unique Voicings: The Heart of the Tune

Bill Evans’ piano voicings are central to the tune’s sound, blending modal harmony with impressionistic textures.

Three-Note Voicings and Fourths

Evans employs compact three-note voicings often built in fourths, creating open, ambiguous sounds rather than traditional tertian chords. This departure from bebop-style voicings adds mystery and depth.

Voice Leading and Chromaticism

His voicings use smooth voice leading with chromatic passing tones, sometimes implying chords without explicitly stating their roots. 

Avoidance of Typical Chord Tones

Evans often omits the expected chord tones—such as the minor third in a D minor chord—to achieve a more impressionistic effect. He layers extensions like the 9th, 11th, and altered tensions to enhance the harmonic palette.

Practical Tips for Musicians

Learning the Melody and Harmony

• Memorize the 10-bar form and pay attention to the shifts in harmonic rhythm.
• Practice the corrected chord changes rather than relying solely on the Real Book.
• Listen carefully to the way the melody interacts with the chords, noting the use of tensions.

Approaching Improvisation

• Use modal scales associated with each chord but remain aware of the tonal center in D minor.
• Experiment with playing tensions melodically, embracing non-chord tones.
• Study Bill Evans’ voicings from the transcriptions and try incorporating his techniques into your playing.

Practicing Voicings

• Focus on three-note voicings and quartal harmonies (built in fourths).
• Practice smooth voice leading with chromatic approaches.
• Explore how to use extensions and alterations tastefully to add color without cluttering the harmony.

Conclusion: The Enduring Magic of Blue in Green

“Blue in Green” is a timeless piece that beautifully bridges tonal and modal jazz. Its unique form, harmonic sophistication, and Bill Evans’ innovative voicings create a deeply expressive soundscape that continues to inspire musicians and listeners alike.

By understanding the harmonic structure, modal possibilities, and pianistic techniques within the tune, you can unlock new creative pathways in your own playing and appreciation of jazz. Whether you’re interpreting the melody, improvising over the changes, or studying Bill Evans’ piano style, Blue in Green offers a rich and rewarding musical journey.

If you have questions or want to share your own interpretation of “Blue in Green,” feel free to comment below or share recordings. Keep exploring, keep swinging!