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Wes' lines over the Db7 chord in bars 21-22 quickly bounce between Ab Dorian and Ab melodic minor and back again, all within a short space. If you selected -1 Semitone for score originally in C, transposition into B would be made. In bar 14, I hear this as using the F 1/2-tone/whole tone diminished scale [F, Gb, Ab, A, B, C, D, Eb]. Heading towards resolution on Fm7, Wes plays a simple but classic line that includes the b9(Db). Minimum required purchase quantity for these notes is 1. This modal thinking continues over the Bb7(alt. ) Normally, at bar 17 of "Stella by Starlight" we might expect, in this key, to see a C7(#5) chord, perhaps with other alterations added in, but, in this vision of the song, there is Gm7b5 to C7(alt. Reference video: If you like this video, please buy the original music and support jazz music and jazz artists! Various Instruments.
A close contemporary of fellow bassist Jimmy Blanton, Crosby is less considered as a pioneer, but his interactive playing in Jamal's trio and that of George Shearing shows how easily and fluently he displayed a modern approach to jazz double bass. It is the kind of thing that you might expect to see if we had been playing the 3rd(G-natural) and putting a grace-note F# in front of it. Share or Embed Document. Recorded Performance. If you remember back to our original discussion of the chord changes that we have become accustomed to seeing during "Stella by Starlight" and that, at bar 17, in this particular key, we might have expected to see C7#5 (or something like that), instead of Gm7b5-C7. Then, just playing a simple E-natural, the 3rd of C7 that clearly defines the arrival of that chord. This printable PDF method provides 101 dominant arpeggio exercises with tab, theory and standard notation for the jazz, blues and rock guitarist. Upon arrival, after reading through the tracks and the varied credits, I realized that this performance had come from the same recording that I had first known on the LP, "THE MONTGOMERY BROTHERS IN CANADA"(Fantasy). 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. Microphone Accessories. To read more about our cookie policy. When improvising, even a great master like Wes can make a small error, so in the end, to me, it's more important to present what the idea probably was. In bar 14, the line acknowledges both the Cm7 and the F7 with prime chord tones: Eb(m3rd) and A(3rd).
Other Games and Toys. As he transits to Bbm7, the 3 notes that he plays show more of the sense of Eb Dorian. Instant Downloads > Instrumental Instant Downloads. Regarding the bi-annualy membership. Next video: Four on Six by Wes Montgomery. Save Stella by Starlight - Bass Line For Later. So, he then takes a nice breath to recover and collect himself. This PDF method contains 40 exercices with tabs, scores and audio files for practicing jazz guitar chords over the minor 2 5 1 progression. Report this Document. Share this document. Choral Instrumental Rhythm Pak.
Chords, I feel that he is focused on observing the C7 more than the Gm7b5. What he plays briefly reveals that he is thinking of the Am7-D7 chords as A Dorian [A, B, C, D, E, F#, G]. This score was first released on Sunday 26th August, 2018 and was last updated on Friday 13th March, 2020. Over the Abmaj7 in bars 7-8, where Jazz phrasing is concerned, I love the little triplet grouping on beat 1 of bar 8. This PDF eBook provides over 550 guitar chord shapes. In bars 23-24, over the Ebmaj7 chord, everything makes perfect sense until an E-natural appears on beat 4.
From there, the line is really connected to material from C Dorian. Selected by our editorial team. 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). In some cases, for a great artist like Wes Montgomery such reissues are usually most welcome amongst his hardcore fans.
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. He uses a nice vault through a Bb triad to hit the final Ebmaj7 over which he's playing an F major triad: C(6th)-A(#4)-F(9th) which adds a lot of color to the simple major 7 chord.