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Romaine- Jim Hall

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Jim Hall Jazz guitar solo

Text of Romaine- Jim Hall

  • Tune: RomaineComposer: J im Hal lTranscription: starts at 0'59"; ends at 2'25"Tempo: half note = 112From the album: Jim Hall In Berl in: l t 's Nice To Be With YouLeader of the session: Jim HallRecorded: June 27128, 1969; Teldec Studios, Berl in, GermanyCD: MPS 843 035-2

    This is my favorite Jim Hall album, perhaps because it was my f irst exposure to hisplaying. Hall performs in a tr io sett ing with bassist Jimmy Woode and drummerDaniel Humair. As the l iner notes by producer Joachim Berendt state Hall plays with" . . .c lar i ty , pur i ty , sensib i l i ty , taste"; t ruer words were never wr i t ten.

    "Romaine" is one of Hall 's most recognizable tunes, and it is often played as a ballad.But in this recording, Hall plays "Romaine" with a 212 samba feel. This solo clearlyi l lustrates Hall 's use of small melodic motifs to build a solo. Observe his frequentemployment of a dotted quarter note fol lowed by an eighth note. See how themelodic ideas in measures 1 - 4 are echoed in measures 17 - 20.

    Listen closely to the numerous glissandos employed to obtain his unique "pick-less"t imbre. Hall once told me that he str ived to make his guitar l ines sound l ike tenorsaxophonist Ben Webster. An example is bar 12, beat 4, where he sl ides his left handfinger from B to C to C# instead of using a separate f inger for each note.

    Measures 37 - 40, and measures 77 - 80 are interesting as Hall drones open stringswhi le p laying a melodic l ine on other st r ings. This same technique is used for h issolo on "Up, Up, and Away" from the same album.

    Measure 45, beat 1 is Hall 's most frequently used chord voicing. Constructed of twofourths and a major third on top, this voicing serves many purposes; in this case, i tserves as a Dm11 chord. Depending on the bass note, this versati le voicing can beheard as Bbmaj13, Eb6/9+11, or G9sus4. Measure 44, beat 4, (A13-9) is anotherfavorite chord voicing of Hall.

    Like al l jazz transcriptions, the written notation cannot precisely document themany rhythmic and melodic subtleties of Jim Hall 's solo. Be certain to l isten to therecording when studying this transcription.

    Transcribed by Michael Pettersen (revised January 2005)

    - t -

  • Michael Pettersen is a jazz guitarist residing in Evanston, l l l inois. Currently he is onthe playing roster of f ive big bands in the Chicago area, including the Arts CenterJazz Ensemble and Chicago Jazz Orchestra. He has a BA in Music from the Universityof l l l inois at Urbana where he played guitar and banjo in the U of I Jazz Band,directed by John Garvey, from 1970 to 1975.

    Michael is the co-founder and editor of an educational website that honors Basiegui tar is t Freddie Green: ht tp: / /www.freddiegreen.org

    Michael's f irst exposure to Jim Hall was in 1970 when he purchased the album "lt 'sNice to Be With You: Jim Hall In Berl in"; he became an instant fan. ln 1972 and in1973, Jim Hall visited the Urbana campus to play concerts with the U of I Jazz Band.Not only did Michael get to meet and hear Hall, he also received two guitar lessonsfrom Jim that quickly improved all aspects of his playing.

    ln 2004, Michael's wife, Jamie, presented him with a Sadowsky "Jim Hall" guitar as afif teenth wedding anniversary gift. With his new guitar, Michael now is able to playjazz solos equal to any solo of Jim Hall. . . .as long as Jim first creates the solo so thatMichael can transcribe it !

    Thank you, Jim Hall, for many years of inspiration and superb jazz.

    - l -

  • ROMAINE Jim Hal lCD: MPS 843 035-2

    Dm7

    3o cm6 C m + 5

    Dm7

    Am7

    G pedal tone

    drone open D and G with octaves on @@.c6

    G pedaltonec+5

  • G7;-3 -1

    Am6

    6 3 G m 6

    67 Gm6

    Cm+5

    B m 7 - 5 E7

    Am7

    G 6

    G m + 5

    Gm+5

    C m + 5 Cm6

    drone open G with melody on 4th string

    G m + 5

    G m + 5

    G pedal tone

    End of euitar solo

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