Jim Hall Comping on Alone Together

**gersdal** · 05-14-2012, 03:58 PM

I've transcribed Jim Hall's comping on Alone together on Paul Desmonds record Take Ten. Great playing and a lot to learn from this. Not a perfect transcription. I gave up on getting the rhythm notation correct here and there, but I hope the voicings and grips are decent.

**Reg** · 05-14-2012, 08:42 PM

Very cool. thanks for posting. I read through... well between scrolling down. Very straight, rhythmically and harmonically... but we are talking about JH.

You might check out your rhythmic notations when they cross, what many call the imaginary bar line, between beats 2 and 3. At 7th bar of 2nd "A"... dotted quarter, dotted quarter, quarter. Always easier to read as Dotted quarter, eight tied to quarter, quarter.... and 3rd bar of last "A". Not really a big deal, but sight reading is difficult enough already.

How do you determine chord symbol from spelling or notated part. I'm always interested. Some of the symbols appeared different from spellings...Again thanks for posting, players should read through, great practice etc... Not trying to bash, I always dig your posts. And you are actually giving us music... very nice.

Would dig hearing you play transcription...

Thanks Reg

**gersdal** · 05-15-2012, 05:53 AM

Originally Posted by Reg

Very cool. thanks for posting. I read through... well between scrolling down. Very straight, rhythmically and harmonically... but we are talking about JH.

Thanks

Originally Posted by Reg

You might check out your rhythmic notations when they cross, what many call the imaginary bar line, between beats 2 and 3. At 7th bar of 2nd "A"... dotted quarter, dotted quarter, quarter. Always easier to read as Dotted quarter, eight tied to quarter, quarter.... and 3rd bar of last "A". Not really a big deal, but sight reading is difficult enough already.

Thanks for the advise. I've seen people recommending transcribing the rhythm first, and then the individual notes. Maybe that would be better. It's getting a bit too much for me at times.

Originally Posted by Reg

How do you determine chord symbol from spelling or notated part. I'm always interested. Some of the symbols appeared different from spellings...

I think I just indicated the original chords from the real book, and let the reader determine what Jim Halls interpretation of what to play over that chord.

Originally Posted by Reg

Again thanks for posting, players should read through, great practice etc... Not trying to bash, I always dig your posts. And you are actually giving us music... very nice. Would dig hearing you play transcription...

Thanks. I'm not too advanced when it comes to video taping my playing and placing it on youtube. I'll try ...

**kris** · 05-15-2012, 07:58 AM

Nice...thanks.
I have this CD.I like it a lot.
Jazzingly
Kris

**jamieh** · 05-15-2012, 09:15 AM

Great job, always dug that intro too!

**JakeAcci** · 05-15-2012, 09:31 AM

Awesome...thanks for sharing. Jim Hall's comping always blows my mind.

**Gertrude Moser** · 03-22-2014, 08:12 AM

I've been looking/studying at this comp and have one glaring question? There are multiple instances where on a minor 2-5-1 where Jim plays a dominant 7 (maj 3rd) instead go the ii-7. I get how this creates a strong 1/2 into the V7(he's basically sliding dim chords around) but I don't get why the F# on a D-7 "works". It's not just used "in passing" either, in m47 he plays the F# on D- on the downbeat of one. Not something I would tend to do, but then I'm no Jim Hall. Could someone give me a heads up
here? Many thanks.

**0zoro** · 03-23-2014, 04:40 AM

Gersdal, this looks to be a very interesting post, and I dont understand how I missed it then but fortunately its come round again. Only problem is the link seems to be inactive. I would really like a copy of the transcription. Is that possible?

**Gertrude Moser** · 03-23-2014, 07:36 AM

Sorry, I should have checked the link before I posted. I'm looking at a copy I printed a while back and never got around to studying. Is the OP still around?

**GodinFan** · 03-23-2014, 09:50 AM

Originally Posted by Gertrude Moser

I've been looking/studying at this comp and have one glaring question? There are multiple instances where on a minor 2-5-1 where Jim plays a dominant 7 (maj 3rd) instead go the ii-7. I get how this creates a strong 1/2 into the V7(he's basically sliding dim chords around) but I don't get why the F# on a D-7 "works". It's not just used "in passing" either, in m47 he plays the F# on D- on the downbeat of one. Not something I would tend to do, but then I'm no Jim Hall. Could someone give me a heads up
here? Many thanks.

Ed Bickert is another who does that V of V thing instead of a ii-V.