So we'll talk about your own voice and Stella by Starlight Analysis. Welcome to Jazz Guitar Lessons, where we help guitarists learn jazz faster, express themselves more fluently, and have fun along the way. My name is Marc, and if you're looking to learn jazz, form better practice habits, and especially if you enjoy French accent, make sure to subscribe. So your musical voice.
I really want to talk about that. You may not recognize it at first when you hear it, but your own voice could emerge from you practicing, playing, kind of rehearsing with people or writing your own tunes. It's it's really important that you believe in this. I personally believe that each and every one of us has something inside him, a distinct musical voice that can rise and shine.
You really have to get the technical stuff, the chords, the scales and the tunes. You're learning the rhythms. You have to get this out of the way. Like if you're sculpting something and your own voice will emerge. We could discuss this for hours, you know, if you take your guitar. That happens to me when I start practicing. When they pick up the guitar, you start playing and you find there's something really special about what you're playing.
But you only played one or two notes. It's. It's your own voice that's coming out. And there's not there's no two human beings that will touch the guitar in the same way. So what you have within your fingers, within your you're the way you hold it, the way you react emotionally to what you hear and the way you build your connections with your friends, the people that you're playing with, the way you you treat, the scales that you're playing with, the way you treat the songs, the depths or the aggression that you put in your playing or the blues.
In this or the romanticism. It all depends on who you are. And this we cannot explain. But what I can tell you now is you should you should look for it. You should be conscious that it exists for you and for everyone else, and that trust that it will come out for you and in a situation when it has to come out.
So for the second topic now will do Stella by Starlight chord analysis. So same as the previous podcast where I took all the things you are quoted by chord and I knew it was quite long and maybe boring for some of you, but this type of analysis is super important. And this time though, I will try to avoid repeating myself too much and we'll kind of just go over it.
If you have trouble with some parts of what I'm saying, you may ask me a question through the website or by email, or you could just really listen to it, just back it up like a few seconds. And you you may get what I'm talking about for this one will do all the chords by chord analysis in the sense that we cannot relate everything to the original key.
Because Stella by Starlight goes in many, many keys. It's a great tune, but it's impossible to always relate back to one. So I'm going to relate it back to what's coming before and what's coming after, which is much easier for me. Hey, everyone, just a quick break here. If you're loving this episode and you want to elevate your own, just our skills, reach out to us.
We've gathered thousands of guitarists in becoming accomplished jazzers beyond their wildest dreams, so check the link in the description. Or visit jazz guitar lessons dot net to get started today. Okay, now back to the episode. Okay, so let's get going once again. No melody, because melody is it's your job to do it. You can you can find it on the website in the standard tune section like this, and I'll let you do that.
But now just four chords so you understand what's the structure of the tune. Okay, we're in the key of B-flat, major, but the first chord is E minor, seven flat five. Weird. So it's not that weird. Here's how I think of it. You might have seven, five, 5 to 8. Seven is a minor two five to D minor E minor, which is not played into do this, but D Minor has three common notes with the key of B-flat major with a B-flat major triad.
So. So it's pretty much the same chords. So here's how I think this is E minor, seven plus five. The A7 is a minor D minor next C minor, seven to F is a25 to B-flat. So we're not that far. Next chord is F minor seven. This is two and five S minor seven to B-flat, seven to the key of four.
So four is E-flat. So those are bars one through seven. Let's go through them once again. Em7b5 to A7 is a minor ii-V to Dm which is not played C minor seven to F seven is a major to five in B-flat. F minor seven to B-flat. Seven is a25 to E flat major So far that two five is the first one that resolves to one, and that's a temporary one.
E-flat Major, or in the key of B-flat, that's called four. Next chord. A-flat, seven. I like the A-flat seven a lot in this case, because it goes right back to B-flat in Bar nine. It's fantastic because it sounds like it's going somewhere. It's called the back door progression. Okay, so let's start in bar nine now and do the next eight bars quarter.
Right. Ready? B-flat major. Then we're going to do the first chord again. E minor, seven, five, five, if not seven, eight, seven. So and we're going to D minor. D Minor is the key or three. So what I'm thinking when I'm getting to those bars is one, two, five two, three. Then the next bar is kind of funny.
It's Bbm7 to Eb7. That's a back door and it's going to f f major seven. So it's once more. It's the back door. Now we're in the sixth bar of the second section and eight bars, right? So we're on F G minor seven to see a minor seven plus after D So it's 2 to 5 cells that are going up because we are resolving to G Somehow you have to look up, look ahead and see that.
So let's do a brief recap of the first six bars of the tune. I will sing the roots with You. One, two, three, four. You don't need to do That's minor. Seven B's. Lots of room to do lots of two bar nine be slow. Mm. Don't don't do back door to s doo doo doo doo. Good. Do That's a minus seven 552 D7 Now the bridge bar super dramatic.
Yes. So the bridge is quite different because the chords will last two bars for the whole bridge. So it's pretty simple. It's G7, Cm, Ab7, Bb. Six, in terms of analysis towards B-flat, six to that C minor and flat seven. That's a flat seven. It's called flat seven because we're going to be able now for the last eight bars super easy.
It's only by cycling. So you take a25 cell like this, you might have seven flat 528 slots, you take it, you do it three times, but two semitone down and once more F seven. This is called back back cycling. You mean are 755857755 gs7 07457. These like they were were done. Isn't that cool? So that's it for analysis I want you to think of those things instead of thinking of chord by chord by God.
Okay, what's the next to the tune? If you think in terms of section, it'll be much easier for you to memorize the tune and kind of late. So I'll let you go. That's it for today. Do your homework, analyze this tune. And if you didn't do it yet, analyze All The Things You Are for your own sake using the previous podcast if you want, I'll let you go with a little version, improvised version of Stella by Starlight.
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