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Jazz & More Guitar Lessons: “Stella by Starlight”

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Tune-Based Instruction
"Stella By Starlight" Melody.
All right, here comes the breakdown
of the melody of Stella by Starlight.
As usual,
I will tell you what the notes are.
But then you can play it anywhere you like
on the neck, 'cause I'm not a big fan of
set fingering so when I play a melody like
this freely I play differently each time.
So, as long as you know where,
what the notes are then you can figure
out where you want to play them.
You know,
it will sound different if you play
Or you play.
There's so many options, you know.
So that's why I don't wanna
limit you to one set fingering.
So here are the notes.
It starts with the first,
with the first chord, B flat to A.
One, two, three.
And one, four one, two, three, four.
One, G, A, B flat, F.
F to G, or
if you're
If you wanna do a F sharp in between,
you can also do that, but basic melody.
F, B flat,
G, B flat and a D.
So let's play that again.
F to G.
F to A flat, G, B flat, and then D.
Next part is E flat, D, C, B flat.
To D.
E, G, F, F, E flat,
D, C, B flat, D, E, G, F.
B flat,
A, G, F, G, A,
B flat, D, C.
Two times.
Then D up
to E flat.
E flat, D, up to F up here
at 13th position, first string.
E flat, D, C.
D, C, B flat.
A, and C.
So one more time.
E flat, D, F.
E flat, D, C, B flat, B.
C, B flat, A, C.
And then the A part again.
B flat, A.
You have G,
C, B flat.
F, E flat, and a G flat.
G flat to F.
C, B flat.
E, G, F.
B flat, A, G, F, G, A flat,
B flat, D to C, D to E flat.
E flat, D, F.
E flat, D, B flat to D.
C, B flat, A, C.
B flat, A.
Here we have G.
One more time G.
C, B flat, F.
F, E flat, G flat, to F.
And that's the whole melody.
Tune-Based Instruction,
"Stella By Starlight" Chords 1.
It's time for a breakdown of the chords.
The first chord of this
song is E minor 7 flat 5.
And this is a good voicing.
7th position.
First finger on E the fifth
string 7th position.
Second a note with the third finger is the
B flat on the 8th position fourth string.
Then we have the D on the 7th position
third string and I have a G on top.
8th position, second string.
And for the second chord here, A7.
You can do
play an A7 with 5th position A, G.
And C sharp on third string, 6th position.
But you can also add this.
Add the Sharp 5, the D,
6th position, second string.
Maybe an A on top if you like too also.
Or maybe like this, with the F on top.
Next chord is C minor.
If you wanna play C minor 7.
If you wanna play C minor C
8th position sixth string, B flat.
Fourth string 8th position and
E flat, 8th position third string.
If you wanna add add add a G on top,
you can do that as well
on the second string.
Or if you want to play it down here.
Like a C, F, B flat and,
E flat, 3rd position.
F7 F,
E flat and A.
You can also do the F13
if you'd like to add a D.
The second string, 3rd position.
Then you have like this.
And F minor 7.
If you wanna play that same voicing
the ones, I already taught to you.
Or if you wanna do 'cause it works
fine with the melody to F minor 9.
8th position, second finger F.
First finger, 6th position, A flat.
Third finger, this was first finger and
this is third finger on 8th position,
third string.
And then the fourth finger on
the 8th position, second string.
F, A flat, E flat, and G.
And then you can just put the B here,
B flat in the bass and
move this finger here.
And then you have,
have D instead of the E flat.
That's a B13.
An E flat major,
if you want to play it like this,
for instance.
E flat, G,
B flat and D on top.
Or you wanna do this,
it's like a E flat major 9.
E flat, G, D, and F on top.
That's kinda nice.
If you wanna go to the next chord,
A flat 7, A flat G flat, and C.
Or if you want to add the 13
on top the F 6th position,
second string, or
even play even play the flat
5 with Sharp 11 on top, the D
Tune-Based Instruction,
"Stella By Starlight" Chords 2.
So, root.
[SOUND] Dominant seventh.
[SOUND] Third.
And [SOUND] sharp 11th on top.
But if we're gonna do this chord.
[SOUND] And this B.
[SOUND] B flat major 7th.
B flat.
[SOUND] And F.
[SOUND] 6th position.
[SOUND] 7th position.
7th position.
[SOUND] And 6th position.
[SOUND] Or sometimes, other people play.
B flat.
Add nine here.
B flat.
And D.
Back to E minor 7th.
Flat 5.
Same voicing.
A 7th sharp 5.
To D minor 7th.
You can use [SOUND] that same voicing.
[SOUND] That,
with the stacked [SOUND] fourth intervals.
So instead of that regular voicing.
You can play the fifth here.
You can replace the fifth with the fourth
[SOUND] or
eleventh if you like that voicing instead.
But this one you can use, of course.
[SOUND] And B flat minor 7th.
[SOUND] B flat.
[SOUND] A flat.
[SOUND] If you just wanna
play these three notes.
If you wanna add [SOUND] F on top.
6th position.
you can change the root
[SOUND] in to E flat.
And then [SOUND] changes this note.
[SOUND] A flat, in to G.
And you have the E flat 9th.
So one.
Back to.
F major 9.
Same voicing as you have for
E flat major 9,
if you want to do that one.
Or even.
This barre chord here.
And A.
Fifth string.
Fourth string.
Third string.
And second string.
8th 10th.
[SOUND] And 9th.
And 10th position.
E again.
[SOUND] E flat minor E minor 7.
Flat 5.
You can do the sharp 5 here again.
[SOUND] A minor 7.
Flat 5.
[SOUND] And E flat.
[SOUND] To a D7.
[SOUND] And here I'm D.
[SOUND] F sharp.
And C.
Here I like to add that [SOUND] flat 9.
[SOUND] Two.
[SOUND] Three.
[SOUND] Four.
[SOUND] One.
[SOUND] Two.
[SOUND] Three.
[SOUND] Four.
[SOUND] One.
[SOUND] Two.
[SOUND] Three.
[SOUND] Four.
[SOUND] One.
[SOUND] Two.
[SOUND] Three.
[SOUND] Four.
Here comes the G7.
[SOUND] Sharp 5.
Same, same fingers as we did here.
Just two frets down.
[SOUND] One.
[SOUND] Two.
Three, four.
C minor 7.
If you wanna do that voicing [SOUND] or
minor 9th.
A flat 13.
[SOUND] Used it before if you wanna
use the [SOUND] A flat 7 sharp 11.
[SOUND] Back to B flat major 7.
[SOUND] Or before you do that.
Add ninth instead.
[SOUND] E minor 7 flat 5.
A minor, [SOUND] A7 sharp 5.
D minor 7 flat 5.
Seventh same voicing again.
Sharp 5.
C minor 7.
[SOUND] Flat 5 [SOUND] to F7 sharp 5.
[SOUND] So it's like a sequence.
Move it two frets down.
Back to tonic chord B flat major 7.
[SOUND] So here we for one chorus.
I might use slightly different voicing
now, showing you what you can do.
Going a little bit away from the ba,
most basic ones.
That's a nice
thing you can do at,
at the end instead
of the backing track,
we have C minor
[SOUND] 7 sharp 5,
flat 5, I'm sorry.
C minor 7.
Flat 5.
[SOUND] F7 sharp 5.
But you could also do C sharp minor 7.
F sharp 7.
C minor 7.
Back to B flat.
So those are the chords.
It's For Stella by Starlight.
Tune-Based Instruction,
"Stella By Starlight" Scales 1.
This is a breakdown of the scales and
ideas that you can use for
improvising playing over this song,
Stella by Starlight.
As I told you during
the chords breakdown,.
The first chord is E minor 7 flat 5,
and we're in the key of B flat major.
So this chord is not really part of the,
the chord scale.
The function is called sharp four
dominant the sharp 4 minor 7 flat 5.
So the most common scale
here to play is E Locrian.
E, F, G,
A, B flat, C, D and E.
It's like an F major
scale that starts from E.
What I like to do here is sometimes also
replace the F with the F sharp.
So, that will make it
Locrian natural 9 scale.
You hear it sounds slightly different.
So, you can use both,
this is the same as a G minor,
major 7, I mean G melodic
minor scale starting from E.
So, that goes for the first chord.
Te second chord, A7 is dominant
leading to the third step of
it's called, it's a 5 7 2 to 3.
A7 would naturally lead to D minor,
the third step of B flat major.
So the most inside scale here to play,
if you wanna stay close to
the B flat major sound,
is to use the A Mixolydian flat 2 flat 6.
A, B flat, C sharp,
D, E, F, G, and A.
But I also like to use the altered scale.
A altered, same as B flat
melodic minor starting from A.
A, B flat, C C sharp.
Call it D sharp or E flat, F.
G and A.
A7 doesn't really
resolve into D minor 7 this time.
It continues to C minor 7.
The C minor 7 is the second
step of B flat major.
So you can play C Dorian, starting C,
D, E flat, F, G, A, B flat, C.
starting the same scale
from F will give you.
F Mixolydian 5, 7.
A one, F7, that would naturally
lead into B flat major.
So by here it continues
to another 2 5 F minor 7.
And B flat 7, and B flat 7 is the 5 7 2 4.
And the four is E flat.
7, major 7 and here it's actually
resolving, so you have a 2 5 1 here.
So and then you can choose on this chord.
If you play Dorian on.
On the F7, F minor 7 and
you play Mixolydian here.
Still on that tone,
the one chord E flat 7.
Still it's the fourth step of B
flat major which is around the key.
So, it sounds good to use to.
The A sharp 4 instead of A.
A 4 or the 11th as you can hear.
But if,
if you wanted to consider it as a 2 5 1.
It works fine as well, but
then it sounds more like a temporarily
kind of a key change into E flat major.
So it's a question of taste,
what sound you like to project.
And on this 2 5, we can also go outside.
Maybe use the B flat diminished scale
dominant like a half step
whole step B flat, B.
D flat, D, E,
F, G, A flat, B flat.
Leads really well into,
into, E flat major 7.
And why don't you try the B flat dominant?
The alter dominant,
alter scale works fine too.
So if you go from here.
And here's
the A flat 7.
And this is the, you can call this
the flat 7, dominant 7 of B flat.
So it's a borrowed chord from
another B flat tonality 'cause
it's not part of the B flat major scale.
It is part of a B flat Mixo flat 6 scale.
You don't have to know that.
The, the only thing you need to know,
that over this chord it works really well,
With a Lydian flat 7 scale.
From A flat.
A flat, B flat, C, D, E flat,
F, G flat, A flat, B flat.
Tune-Based Instruction,
"Stella By Starlight" Scales 2.
Then you go back to B
flat major tonic chord.
Play the Joni, Ionian scale.
It's time for
another 2 5 here like in the beginning.
E minor 7 flat 5, A7.
And here it actually continues.
It leads into D minor 7.
So here you can choose if you wanna play,
'cause D minor 7 is the third step of
B flat major, and
that would make it a D Phrygian scale.
But I, I kind of.
I could,
would try maybe play Dorian
if I like to get that sound.
'Cause you can,
can consider this as a temper,
temporarily one minor chord as well like.
[SOUND] Or, if you wanna play the Aeolian.
With a B flat,
flat 6 it's fine.
Or if you want to try
the the Locrian with E flat.
Then you're like really still into the key
of B flat major.
And here we have a little 2 5,
we have B flat minor 7 and E flat 7.
And E flat 7 would be called.
The fourth 7 dominant.
And, you can choose if you
wanna stay within the scale.
As much as possible, close to B flat major
tonality, you can play E flat,
F, G, A, B flat,
C, D flat, E flat, F, G, A, E flat, C.
But that, that's called Lydian flat 7.
And if you use that same scale for
the first chord,
the B flat minor, that will be,
the same note starting on B flat will be
a B flat melodic minor scale instead.
But you know, with all these chords,
even if the notes are the same,
remember they have different chord tones.
So if you wanna outline the chord,
this is.
B flat minor.
Major 7.
It sounds quite different from E flat 7.
Although the scales are the same,
you know, the notes are the same.
But, try it, when you improvise try to
outline each chord also with arpeggios.
So you hear the sound of each chord.
So, let's see where we were here.
On this E flat 7 you can also just play.
Play the regular.
Mixolydian scale if you wanted or
a little bit outside and get that sound.
Back, back to F actually, F major.
F major 7 would be,
you could call it, like.
The F major 7 chord
is not part of the B flat major scale.
It's a, you can see that's a, either if
you see it as a temporarily key change or
if you see it as a borrowed chord
from B flat makes B flat Lydian.
'Cause if you play B flat Lydian you start
that scale from.
F, you get the F major scale.
So F major, then you can either play the,
pff, some people play.
E, minor 7 flat 5, A7 here again.
Or some people play.
G minor 7, C7.
You can choose what you like.
The G minor 6, you know,
that's the inversion of E minor 7 flat 5.
So it's basically the same.
It's just that if you want to have.
C7 or if you want to have the A,
A7 afterwards.
They're two different sound.
You can see what you like the best.
[SOUND] That's G minor 7, C7.
And this is E minor flat,
minor 7 flat 5, A7.
And goes here to A minor 7 flat 5 and
that's the seventh step of B flat major.
You can play a B flat major scale starting
from A, but remember to outline the, there
'Cause the, the chord tones are A, C,
E flat, G.
And that's followed by,
on that chord, of course, you can also
if you wanna change that Locrian sound.
Replace the flat 9 with a natural 9.
And you go slightly more outside.
Like I explained before.
And, D7,
or D7 flat 9, and
this is a 5 7 to 6.
'Cause G is like the.
Sixth step of B flat major.
G minor would be the, the,
the sixth step inside the key.
Here we're actually going
to G flat 7 instead.
So, so it's more like a, a dominant
from one dominant dropping the,
the root, the fifth to another dominant.
But you can consider this as a 5 7 to 6.
And then the, the most inside scale would
be once again Mixolydian flat 2 flat 6.
Or if you wanna use the altered
scale just as I explained before.
Tune-Based Instruction,
"Stella By Starlight" Scales 3.
Then it's time for the G7.
Or G7 sharp 5.
And the nature scale to play if you
want to stay as inside as possible.
You do the same thing with these dominant
5 7 to 2, you take the chord tones,
and then you fill out every second note
from the surrounding key, that's how I
did it with these other dominant 2 to get
that kinda,
the most inside sounding scale.
So this one will be
Mixolydian flat 6 from G.
G, A, B, C, D, and E flat, F, and G.
But I'm not too crazy about
the sound of that scale, so
most of the time I would use the altered
scale, the Superlocrian in this G7.
[SOUND] Instead of,
Well that's optional, you can choose what
you like but
I like the altered scale here.
Then we have a, afterward
a C minor, second step of B flat.
Major and then I would use the Dorian.
if I want to spice it up
a little with that note.
Either as an approach note to B to C,
or if I want to use
it constantly and
play the C melodic minor scale.
So from the bridge one, two, three, four.
C, Dorian,
Then we have this chord again a flat 7.
The flat 7 dominant 7.
Same scale again Lydian flat 7.
This time it goes back again to B flat
major 7.
Ionian scale again.
Or if you want to flavor it,
we'd go outside and use the E instead of.
E flat to get the Lydian sound.
That's also an option,
then back to E minor 7 flat 5, A7.
Here every now a little
2 5 D minor 7 flat 5 and
G7 sharp 5, and
once again G7 sharp 5 is the dominant.
To the second steps,
5 7 dominant, 2 and there I,
because I don't like the sound of that
scale, mixolydian flat 6 personally.
I use the altered scale instead or
even mixo flat 2 flat 6
might sound good as well.
And for, for this this chord.
So this is a like a 2 5 in a way.
2 5, 2 5 and for
this I might use the D Locrian or
D Locrian natural 9 to get that.
And down,
down to C minor 7th flat 5.
Same thing there you can
replace D flat with it.
[NOISE] And then 5 7 to one and on the F7,
you can use mixo flat 2 flat 6.
Or if you wanna use just.
[SOUND] Depends on what chord
voicing you're playing.
If you're playing 13 you can use the half
step, whole step diminish from F.
Or if you want to drum this
chord you might want to use
the alter if you have that sharp 5.
So, here from the start let me
improvise one chord without and
backing tracks used here.
One, two, three.
And as usual I'm using lots of
chromatic passing notes, you know.
Like I've been teaching those lessons.
So I used arpeggios, and the scales, and
also chromatic passing notes in between,
in between to be able to
create these melodies.
All right that was the breakdown
of the scales for this song.
Thank you.