This is a public version of the members-only Jazz Improv Guitar with Chuck Loeb, at ArtistWorks. Functionality is limited, but CLICK HERE for full access if you’re ready to take your playing to the next level.

These lessons are available only to members of Jazz Improv Guitar with Chuck Loeb.
Join Now

30 Day Challenge
«Prev of Next»

Jazz Guitar Lessons: Here's that Rainy Day

Lesson Video Exchanges () submit video Submit a Video Lesson Study Materials () This lesson calls for a video submission
Study Materials Quizzes
information below Close
information below
Lesson Specific Downloads
Play Along Tracks
Backing Tracks +
Written Materials +




Additional Materials +
resource information below Close
Collaborations for
resource information below Close
Submit a video for   
Jazz Guitar

This video lesson is available only to members of
Jazz Improv Guitar with Chuck Loeb.

Join Now

information below Close
Course Description

This page contains a transcription of a video lesson from Jazz Improv Guitar with Chuck Loeb. This is only a preview of what you get when you take Jazz Guitar Lessons at ArtistWorks. The transcription is only one of the valuable tools we provide our online members. Sign up today for unlimited access to all lessons, plus submit videos to your teacher for personal feedback on your playing.

CLICK HERE for full access.
So I'd like to take a moment and
talk about, little bit about
what Jim did on that song,
and what I took away from it.
Get, let's kinda get into the mind
of Jim Hall a little bit there.
One of the great things is I
think the original chord for
the first part of that song,
the first chord of that song, actually
wasn't a minor chord originally it's
and I remember Jim when he showed it to me
for the first time he said you know
the first chord is a major chord but
I made it a minor chord just I thought
it was a, kind of a rich sound.
And he took that idea
and he made it a very pure minor chord,
there's not even a seventh in it,
it's just a triad.
One, five, three and
then a repeat of the five.
A very rich sound,
especially right there on the guitar.
And he was very aware of that, of,
of where you played on the guitar,
how it affected the, tonality and
the tone of what you were doing.
So, he used a walking bass line down.
So, it's almost like a little classical
movement because it goes
from G minor to D f,
first inversion D,
in other words D over F sharp,
so it's a D on top with
the third on the bottom.
And then with the F minor seven,
but he kept the D on top.
So that's not an often-used tension,
where in this case, it's really,
really strong and beautiful, and
it is the 13th on a minor seven chord.
Very nice chord, right?
And then he goes to single notes.
And it just goes up, the melody.
All by itself.
And then he grabs E flat major seven with
just the seventh and the third.
He didn't play it full voicing.
He wanted a little more open sound.
So let's go over that much.
Oh I left out that one chord, sorry.
We threw in that B flat 713
and then for me when I was a kid I had
never known that chord before and
it was so rich.
So much tension in just four notes.
And what it is, is a B flat
seven 13 nine without the root.
So you have the seventh,
the ninth, the third,
and, oh, actually the root is on top,
I take back.
then it goes to the nice
open E flat chord.
Single notes.
I remember that chord, thinking, wow,
you gotta stretch your fingers all the way
across one, two, three, four, five frets.
And again, He's got a very open voicing.
A Flat Major 7,
one, Five, Three, Seven
then a repeat of the Three on top.
To catch that melody note on top.
And then, it goes to A minor 11,
very spare voicing.
And this next one is really special to me.
That's the D seven chord.
Do you know what?
It's not over a D note.
The D is actually on top.
And you know what note
we put on the bottom?
The flatted ninth.
But you really hear it as a D seven chord.
So it's a D, and
actually the lowest note is an E flat.
Flat nine, then third, then seventh,
and then the root on top.
Now again,
remember when I was talking about just
having chords of just the seventh and
the third, it's the perfect example there.
Just three, seven, one, and
then the flat nine at the bottom.
Then he does this one, five, seven,
three, voicing for the, G major seven.
I love that.
That's just.
The tenth
it's a C minor seven, chord, and
it's just a C, all the way up for
a tenth interval to grab the third,
an octave above the root,
and the fifth in between.
Same thing there.
There's a B flat
major seven with just
B flat, F, and D.
Straight E flat major seventh chord.
That same three not chord on the A minor
instead of C minor.
And then our favorite
three six two five one,
A minor nine,
repeated at the beginning.
I like that.
The second time, he goes.
All that's the same.
Now, that big wide A-flat chord that I
said, one, five, three,
seven, repeat of three?
He takes the seven, and
creates a counter-line.
Very nice.
The melody's hanging in your ear.
And then there's a little counter line
going to the next note of the melody.
A D seven with a flat nine underneath.
Backup, the next part of that
is pretty straight ahead.
It is a little chromatic movement down to
D-minor 7.
And remember when I was talking about,
you can just take our regular
one-five Seven-three voicing, and
if the third is on the top,
you already have the melody.
That's a very
rich diminish chord with an 11.
And a major 7.
Very beautiful, rich chord.
A-minor 11.
B-flat 7, 9.
E-flat major 7.
That's the same chord from Smile,
if you remember.
That is a flat nine 13 chord.
No root, it's a D seven flat nine 13 with
a third to seventh to flat nine to the 13,
and G six nine.
So, please, take your guitar,
play along with that.
And send in your thoughts and
ideas in your own videos.
I'd love to hear them, and
hopefully, comment on them.
Help you if you have any problems.