autumn leaves - jim hall - signature licks
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7/23/2019 Autumn Leaves - Jim Hall - Signature Licks
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AUTUMN LEAVES
Alone Together, 1972)
nglish lyric by Johnny Mercer
French lyric
by
Jacques Prevert
Music by Joseph Kosma
Figure 4 Head nd Solo
In
addition
to
two intimate records with pianist Bill Evans, Jim Hall's catalog
boasts several excellent duet recordings with bassist
Ron
Carter:
Alone Together 1972),
Live t Village West
(1982), and
Telephone
(1984). Each album showcases the uncanny
musical telepathy shared by Hall and Carter; particularly noteworthy is the duo's deft
rhythmic interplay.
From
Alone Together,
Autumn Leaves
is
based
on
a 32-bar song form, played
here
in
the key of G minor.
As
usual, Hall adds his own special touches to the head.
In
the first several bars,
he
places some new notes underneath the original melody; for
example,
in
bar
2, he
props
up
the G and A notes with a pair of
Fs.
Some other touches:
Hall approaches bar 9's note with an
ApO
triad articulated with a down-
ward rake.
In
bar
14, he
adds a tasty fill from the G blues scale Hall
beefs
up
the melody
in
bars 16-21 with some octaves on strings 2 and
4.
Note the hip
harmonic move
in
bars 22-23: a single chord
shape-containing
stacked 4ths with a
major 3rd
on
top-is used to negotiate a V-I (F7-Bbmaj7) change. Over the F7 chord, this
shape, which is moved down a major 2nd, contains some choice dissonances: the
(Db),
9
and
b9
(Gb).
Moved down
an
additional half step, the shape sounds con-
sonant, forming a Bbmaj9
chord (voiced C-F-BI>-D).
At the end of bar 24, Hall adds some more arpeggio work to the original melody,
approaching bar 25's Eo with a broken Ebmaj7 chord (B-G-Bb-D). Also note the sneaky,
chromatic quintuplet
on
beat 4 of bar
25,
a characteristic inflection of Hall's.
In
bars
26-29, Hall changes things
up
with a keyboard-like texture: underneath a melody
on
string
1, he
plays chords on strings 3-4. Each two-note voicing contains only the essen-
tial harmonic
information-the
chord's 3rd and 7th-which facilitates some smooth voice
leading.
In
bar
27,
for instance, the Gm7 chord's (eighth-fret Bb) becomes the C7
chord's
D7th, and the
mTs 07th
(tenth-fret
F)
is moved down a half step, becoming the
C7 chord's 3rd (ninth-fret E). Beginning in the last half of bar 31, Hall closes out the head
with a line from the G half-whole diminished scale (G-Ao-Bb-B-C -D-E-F), which
implies an altered G7 chord, containing the
(Ab),
9
(A /Bb),
and b5/ 11
(Db/C ).
In
his first solo chorus, in bar 34, Hall establishes a one-bar rhythmic motif: an
eighth note rest, followed by a dotted quarter note and a half note. He carries the motif
through the first half of bar 39, sticking to notes that clearly define each chord. For exam-
ple, in bar 35, Hall highlights the 3rd
(D)
and 7th (A) of the Bbmaj7 chord (Bb-D-F-A). In
bar 39, Carter sets
up
a tritone substitution-he plays a
Do
(implying a
Db7
chord) in place
of the expected G (Gm7). Hall responds smartly, with notes from a
Db9 11
chord (Db-F-
Ab-CD-Eb-G). Then,
in
bars 41-44, he revisits the rhythmic motif, neatly approaching the
second note
of
each bar
by
a half step.
In
bar 47, Hall plays a line drawn from the G harmonic minor scale
(G-A-Bb-
C-D-B-F ),
which implies a Gm(maj7) chord (G-Bb-D-F#). He then plays a blues fill sim-
ilar to the one found
in
the head, setting
it up
with a neat trick:
he
simultaneously plays a
D note
on
string 2 and a C note
on
string
3,
then slides the
up
a fret, to match the
pitch of the higher note.
In
bars 50, 52, and 54, Hall plays another rhythmic
motif-two
eighth notes followed
by an
eighth note rest, then another eighth
note-on
string
5,
answered
by
some chromatic blueness
in
bars
51, 53,
and the end
of 54.
Then,
he
trans-
poses the rhythmic motif to a higher register
in
bars 55 and
56,
focusing
on
the 7th
(A)
of
the
Bbmaj7
chord and the root
(ED
of Bmaj7).
© 1947,1950
(Renewed) ENOCH ET CIE
Sole Selling Agent for U.S. and Canada: MORLEY MUSIC CO., by agreement with ENOCH ET CIE
All Rights Reserved
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In
bars 57-60, Hall returns to the octave texture
of
the head, playing syncopated
airs from the G harmonic minor scale with a few chromatic passing tones thrown
in-Cb
. bar 57 and Ar in bar
59.
He wraps
up
his chorus the same way he ended the head, with
a G-diminished-scale line, this time played in a higher octave.
Hall gets a bit more melodically adventurous
in
his second chorus.
In
bar 66, for
example,
he
hits both the
9 (Ab/G )
and
b9
(Gb)
of
the
F7
chord;
in
the second half of bar
,he
makes a major 7th leap from
Ab
to G, implying a
Bb13
chord
(m-O-F-Ab-C-Eb-G),
en hits the
(Gb) on
beat 4, followed by a trademark upwards rake. Chromatic pass-
. g tones abound
in
bars 68-69, then,
in
bar 70,
as he
did with the
F7
chord, Hall incor-
rates both the
9 (F/E )
and r9
(Eb)
of
D7.
In
bars 71-72, Hall works with another rhythmic
motif-a
quarter note followed
by
B
air
of
eighth-note triplets (tied in the center), all within the G melodic-minor scale
A-Bo-C-D-E-F ).
On
beat 3 of bar
72
he
lands
on
a
8\,
implying a G7 chord, then fol-
s it
up
with the notes of a
B07
arpeggio
(B-O-F-Ar),
functioning
as
a
G7b9 in
this con-
:e and resolving smoothly down a half step to the 5th
(G)
of Cm7
in
bar 73.
Beginning at the end of bar
73
and extending till bar 76, Hall works with some
are triplet-based motifs, each one with an ascending stepwise series of mostly diatonic
es. Then,
in
bar 80,
he
plays some more octave-based lines, surrounding them with
_ me four-note block chords. Check out Hall's excellent voice
leading-in
bars 81-82, the
: p two notes of the A7b13 and 07#9 chords remain constant (A
is
the root
of
A7r13 and
- e 5th of
07
ti
9,
F
(E )
is
the
,,13
of
and the of D7 9), while the bottom two notes
ove down a half step each. Some final highlights of the second chorus:
in
bar 86, anoth-
e major 7th leap, from
Gb
to
F,
occurs, implying an
F7b9
chord (F-A-C-Eb-Gb).
In
bars
Hall revisits the piano-like texture
he
explored
in
the head, harmonizing the origi-
al
melody notes
m
and A with some bold, parallel chords.
In
bars 95-96, Hall clos-
es
out the chorus with notes belonging to a
G7b13
chord
(G-B-D-F-Eb),
which
is
similar
he implied
Db9 11
chord (Db-F-Ab-Cb-Eb-G)
of
bars
39
and 40.
Beginning
in
bar 97, Hall's final chorus incorporates all of the elements involved
in
e previous two choruses, including hip altered lines (bar 102), smartly voiced blocked
ords (bars 104-105), and assorted chromatics (bar 118).
To
negotiate the
i i-V-I
7,5-D7-Gm7)
progression
in
bars 113-115, Hall does something very cool: he plays
ole tone-based dyads, moving everything down a half step for each subsequent chord.
e ends the solo simply, with some shell (3rd-and-7th) voicings
in
bar 127.
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