8/13/2019 Hall bio

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8/13/2019 Hall bio

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8/13/2019 Hall bio

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previously played and develops it throughout the rest of the chorus. He then ends the

chorus with a blues lick in measure 12.

The second chorus (B), Hall plays a lick starting on the last note of the previous

phrase (conversational connection), which also happens to outline an FMI, the vi of the

key. The consequent phrase played next has another conversational connection (starting

on f), that is a colorful ii-V lick leading to the IV chord in the next measure. In measure

17, he plays a waveform melodic line using a Db major bebop scale, followed by another

waveform melodic line in measure 19, finally enclosing an A natural in measure 20,

implying a V7 of ii (F7). In measure 21, Jim plays another waveform melodic line that

ends with a 7 to 3 resolution in measure 23. He ends the chorus with a blues lick again.

During the third chorus (C), backgrounds are played. Jim Hall starts this chorus

with a series of blues and major pentatonic licks, some of them double-time figures. He

continues in this manner until in measures 31-32 he implies a Bdim chord that leads

into the BbMI7 in the next measure. He then plays a waveform melodic line in measures

33-34 very similar to the one in measures 21-22 that resolves in the same manner (7-3

resolution) in measure 35. Also in measure 35, he plays a motive that he will develop in

through the next few measures. This motive employs the use of alternate fingerings to

get a slightly different timbral quality by using different strings.

During his fourth and last chorus (D), he continues to explore the motive

introduce in measure 35 for the next 4 measures. In measures 41 and 42 he plays an

antecedent and consequent phrase the imply a iv chord leading back to the Ab7 in

measure 43. In measure 44 he uses side slipping to lead into the BbMI7 in measure 45.

He ends with a blues lick in measure 46 to finish the solo.