for some different approaches to chord movement, bill evans' "time remembered" has no ii v i's in the entire piece. as a matter of fact there are no v chords anywhere in it.

analysis and discussion thread:  https://forums.allaboutjazz.com/showthread.php?t=32522  

bm9 | cma7#11 | fma7#11 | em9 |

am9 dm9 | gm9 | ebma7#11 | abma7#11 |

am9 | dm9 | gm9 | cm9 |

fm11 | em9 | bm9 | |

ebm9 | am9 | cm9 | f#m9 |

bm9 | gm9 | ebma7#11 |

dm9 | cm9 | cm9 |

ed byrne writes:
"demonstrating his great love of the devices of the impressionists, evans in time remembered employs an atonal (having no primary key) non-functional chord succession, a salient characteristic of the music of ravel and debussy (evans' favorites). if memory serves, the melody likewise is impressionist in that it is comprised of unresolved melodic tensions (9th, 11th, and 13ths), another salient characteristic of early 20th century french western art music.

as vic suggests, it is almost a constant structure composition comprised of m9 chords (all implying dorian for each chordal root. evans also devotes five out of the 25-measure recurring form to ma7+11 (lydian) chords as well ~ a 20th century version of modality. "

phil writes:
"time remembered is a great song that demonstrates schillinger's diatonic/symmetric theory. i t is also written with harmony as the main theme the melody written on top.
here is in bill's words how he wrote it:
"time remembered and re:person i knew are pieces for which i wrote the harmony first.....
but it was the harmony that came first, in time remembered, i wrote the harmony and then the structural melody with whole notes. then off of that i filled in the motivic units and overall shape of the melody"

havic5 writes:
"in my opinion, it would be a unnecessary and procrustean way of analyzing a tune like time remember in terms of key centers - there is no dominant-tonic relationship among any of the chords in question, and so (to my ear at any rate), you have missing a very fundamental aspect of key-related functional harmony. there doesn't seem to be much stress on any particular pitch melodically or harmonically, although i guess the case could be made that whenever you have a chord that lasts for more than a bar your ear is more inclined to hear that as a key center. otherwise, with all of the constant structure going on, my ear picks up on that as the underlying relationship in the chord progression far more than any sort of key-related harmony. it's hard to assign a key function (functional harmony) to a series of constant structure chords moving in an intervallic pattern. i, personally, very much doubt that bill evans was thinking that way. "


"playing the melody divorced from the harmony definitely does suggest some modal sorts of pitch centers. i'm pretty amazed that bill came up with this melody after writing the harmony first - it can sometimes suggest harmony entirely different than what he uses, but at the same time it hits all sorts of juicy upper extensions to the written harmony.

the piece actually feels very modal because of the lack of dominant tension, and the constant emphasis on very "modal" notes in the melody, like the natural 13 on the minor 7th chord and the #11 on the major 7th chord. to my ear, though, modal key centers are harder to set up and establish because of the lack of tension/release that is created by dominant/tonic progression. when you have potential modal centers flying by quickly in a tune like this, i don't really get the sense of settling on a pitch center (with the except of the b-7 chord in bar 14)."
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