Autumn Leaves - Jim Hall - Signature Licks

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).

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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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Documents

Autumn Leaves - Jim Hall - Signature Licks