From bar 30 and through the coda, he uses upper structure voicings where triad shapes are used over the 3rd and 7th tritones that represent the dominant chords.Bar 28-29 is just G-6/dim scale harmony again, rather than the common chords often used G-7 C7 F-7 Bb7.Bar 26 has left hand rolls to connect the block chords.Well, I suppose we should think the scale at this point is G-6/F#dim7 scale and that has both Eb and E natural, as Bill demonstrates in bar 14. Bar 13: how come the chord is D7b9 and the melody has an E natural.Bar 15 is standard drop-2 voicing within what Barry Harris calls the G-6/dim scale resulting in either G-6 or F#o7 chords.But at bar 24, Bill seems to be playing drop-3.

There is a lot of drop-2 voicing used, where the second voice from the top of a close position voicing is dropped down an octave.In the later videos, he seems more interested in playing block chords. In the original recording Bill plays most of the tune.

The solo piano intro has 5 against 4 in bars 5-7 in all versions I can find.

My sketch transcription (which means I am not claiming 100% accuracy and it is only meant to be good enough for me to use as a starting point with my trio) is shown below. It’s interesting to see which parts remained the same and which parts evolved. But recently I discovered video of live performances from 1966 with a different Evans trio (Eddie Gomez on bass) using the same arrangement. Scott LaFaro on bass, Paul Motian on drums. I’ve listened to the famous recording by the Bill Evans trio of Autumn leaves from 1959 on Portraits in Jazz for many years.

Autumn leaves bill evans transcription