Description: Stella by starlight. When he has cadenced to Abmaj7 he ascends using the C minor pentatonic [C, Eb, F, G, Bb] and then descends applying some traditional chromaticism. 100% found this document useful (1 vote). So, if something doesn't sound 100% accurate to you, this might be the reason.
Stella By Starlight - Jim Hall Guitar Solo with Tabs - Jazz Lesson. This half of the chorus concludes over Dm7b5-G7(alt. ) Unlimited access to hundreds of video lessons and much more starting from. View more Theory-Classroom. Video transcription from Jim Hall's amazing beautiful solo on Stella By Starlight from his debut album Jazz Guitar (1957). You are on page 1. of 1. The key notes, minus the chromaticism, indicating this are: G, Bb, C, Db, and E. As he lands on Fm7, the emphasis returns to F Dorian. Over the Fm7, he is playing some simple chord tones, but it also sounds as though he continuing with notes that are more related to C7 altered than F Dorian or F melodic minor. So, he then takes a nice breath to recover and collect himself. Final minor ii-V of this first chorus over the Fm7b5, I clearly hear him using Ab Dorian, which is again, the Dorian mode built upon the m3rd of the chord. As the years have come and gone, and the CD Era began, those same tracks have been reissued and repackaged several times. This week we are giving away Michael Buble 'It's a Wonderful Day' score completely free.
In bars 5-8, as we have a ii-V-I to Abmaj7, you could view the entirety of the first 3 bars as being in Ab major [Ab, Bb, C, Db, Eb, F, G] and not approaching each chord individually. Refunds for not checking this (or playback) functionality won't be possible after the online purchase. And then, suddenly, the other night I happened to be listening to the MusicChoice® Jazz channel on my cable TV system, when looked to see what recording this could be I realized that I was caught unaware of the release of the reissue, "DANGEROUS"(Milestone). To me, this is always a can't miss choice using the minor pentatonic built upon the 3rd(G) of the major 7th chord. Save Stella by Starlight - Bass Line For Later. And in bar 19-20 over Fm7, the ascending line is F Dorian. We want to emphesize that even though most of our sheet music have transpose and playback functionality, unfortunately not all do so make sure you check prior to completing your purchase print. As those two chord forms move down a whole-step to Fm7b5-Bb7, Wes again hits the root(F) on the and-of-2, but in bar 30, over the Bb7 chord, he is playing out of Ab Dorian, and as it is going to resolve to Ebmaj7, one could see this modal choice as representing a iv-I cadence. Having felt as though I have been pretty familiar with most of Wes' recorded output, every so often, I wonder why he never seemed to record a version of Victor Young's wonderful "Stella by Starlight. "
Often times, players would be approaching this sonority as Ab melodic minor [Ab, Bb, Cb, Db, Eb, F, G] making the chord a Db7(9b5). This is obviously so it doesn't sound so vanilla. Over the Fm7 in bars 19-20, he is approaching this sonority with chord tones(C-Eb-G-Bb) more than a linear approach. Where the guitar is concerned, the melody sits in a warmer register as the first two notes can now be played on our G-string. This printable guitar method in PDF format contains 40 easy minor jazz guitar lines based on the Dorian mode. Unlock the full document with a free trial! This immediately striking to me because the first version in this other key that comes mind is by Grant Green and organist Larry Young and appears on the wonderful album, " I WANT TO HOLD YOUR HAND "(Blue Note) which also features: Hank Mobley(tenor sax) and Elvin Jones(drums). It is a quick jazz guitar chord melody arrangement with chord diagrams of the famous jazz standard "Stella by Starlight" (Victor Young). Chorus 3 initially shows Wes to be playing some of his favorite notes over Am7-D7, the 9th(B) and the 11th(D), pretty and romantic tones to most of us.
When you complete your purchase it will show in original key so you will need to transpose your full version of music notes in admin yet again. As the Bbm7-Eb7 bars arrive, he is using Bb Dorian, but, in bar 6 over the Eb7, he pulls out another wonderful linear trick by using E Dorian [E, F#, G, A, B, C#, D] over beats 3-4. Lessons are first come, first served.
It is hard to imagine that this is what he really meant to do. The song a robin sings. As he transitions to the new 2nd-half section and Gm7b5, he approaches that bar with a line that goes right up Bb Dorian [Bb, C, Db, Eb, F, G, Ab], again this is the same kind of modal thinking as the previous chords. The murmur of a brook at eventide. View more Other Accessories. But here, instead playing in a purely diatonic fashion he employs the Bb 1/2-tone/whole-tone diminished scale [Bb, B, Db, D, E, F, G, Ab]. Be the first to share what you think! Wes' lines over the Db7 in bars 21-22 reveals that he is playing Ab Dorian. I am certain that Wes Montgomery would have loved listening to John's rendition. Then, just playing a simple E-natural, the 3rd of C7 that clearly defines the arrival of that chord.
As the 1st half of this chorus ends, over the Dm7b5-G7(alt. As he cadences to Ebmaj7 for bars 23-24, his line begins with a classic pick-up into many maj7th lines, here you have Bb(5th)-C(6th)-D(maj7th)-F(9th). By jazz-guitar-licks. His snare drum as recorded, probably direct to 2-track, is a bit loud, but you certainly hear every interaction with what Wes was playing.
As the Ebmaj7 arrives in bar 9, Wes takes another long breath, and then pulls out the language of the blues over the Gm7 chord and into the Ebm7 as well. And notice in bar 28 over the C7 chord the placement of Db(b9) and Ab(#5) preceding an E-natural which defines the chord. Please check if transposition is possible before you complete your purchase. Enjoy and subscribe for more!!! Through years of endless springs.
As the chord changes move through Am7b5-D7(alt. As Chorus 2 begins, and Wes, once again, anticipates the chord and the section by playing forcefully on the and-of-4. Single print order can either print or save as PDF. I think that this is a great example of a great player playing was feels comfortable and swingin' and not worrying about whether or not he is repeating himself and constantly inventing new things. After you complete your order, you will receive an order confirmation e-mail where a download link will be presented for you to obtain the notes. This modal thinking continues over the Bb7(alt. ) Repeating myself, this is simply major to minor! PASS: Unlimited access to over 1 million arrangements for every instrument, genre & skill level Start Your Free Month. This product cannot be ordered at the moment. Pro Audio Accessories.
This PDF method contains 11 jazz blues chord studies with tabs, standard notation, analysis & audio files for jazz guitar players. He plays his characteristic sweeps through Fm7-Bb7 and Bbm7-Eb7, but as he cadences to Abmaj7, he passes through Eb augmented: Eb-(C)-B-G. Once again, in bars 7-8, as Abmaj7 moves to Db7, he is playing traditional major lines of the Abmaj7 and those quickly become Ab Dorian sounds over Db7. In the 1st 2 bars, I still see what he plays in bar 17 as being part of Bb Dorian [Bb, C, Db, Eb, F, G, Ab] over Gm7b5. Between bars 9-11, he plays through the Ebmaj7, and then the quick Am7b5-D7-Gm7 in a most melodic way. Most of our scores are traponsosable, but not all of them so we strongly advise that you check this prior to making your online purchase. The repeated riff of Db-Bb, though they are both chord tones for Gm7b5, they give a rather bluesy feeling these bars. Over the Am7-D7 in bars 25-26, the inclusion of G# as a neighboring tone adds a jazzy touch to what is still basically A Dorian. This printable PDF eBook offers 10 easy minor 7 arpeggio patterns with its related YouTube video for beginner guitarists.
This is the perfect reference guide to understand how chords are built and how to play them on guitar. Anticipating the chord and the section by again playing a Db on the and-of-4 of the previous bar, even though he only plays Db and Ab over the Gm7b5, this still feels like relating to the chord by using Bb Dorian. OK. Music Shop Europe. Returning for the last 8 bars of this chorus, over the Am7-D7, the notes are all diatonic and within the A Dorian mode in my view.
View more Kitchenware. This item is not eligible for discounts. View more Pro Audio and Home Recording. By clicking OK, you consent to our use of cookies. This guitar method is a printable PDF with tabs, diagrams, theory and audio files providing 40 minor 2 5 1 jazz patterns. When he hits the Db7 in bar 8, because of the presence of Gb on beat 1, it would seem that he's hearing this Db7 chord as Ab Dorian [Ab, Bb, Cb, Db, Eb, F, Gb]. Bars 9-12 seem to pass by very quickly, and before you know it, Wes has arrived at the Gm7 in bar 11, where the lines reference in part notes from D7b9. View more Drums and Percussion. However this time, over the Db7(9b5) in bar 21-22, I hear this line as being more related to Ab melodic minor because of where the G-natural lands on the and-of-3. For clarification contact our support. Over the Ebmaj7 chord in bars 23-24, he plays a sequence that emphasizes chord tones: C-Bb; Ab-G; F-Eb, and C-Bb again. With the inclusion of Db and Gb, it appears that Wes is thinking of these bars as C7(b9b5).
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