His lines involve a lot of passing-note chromaticism (very bebop) – and often the chromaticism goes far enough to override the straight changes. He’s also very flexible in his approach to alterations on the dominant chords – although a general preference for 7b9 chord-scales is evident. Note that this is in keeping with the subtle ambiguity of Cole Porter’s melody against the harmony. CHORDSīill takes a very flexible approach to the changes – he’s as likely to treat the first chord of the A section as Eb D rather than Eb7, and also occasionally plays the second chord as Bb D. Oh, and note the 4-bar tag ending that all the soloists play on their final chorus. I’ve also taken a few liberties with accidentals where I think it makes for easier reading (particularly in the parts of the tune that are in the relative major, Db). For simplicity of reading, I’ve given it the key signature of Bb major and flatted the third of the key where necessary.
The tune is in Bb minor – actually, melodic minor is quite strongly implied. It’s natural, in a way, that the facets of this solo that make it so musically powerful also make it somewhat tricky to notate and read.
