Harmonic Analysis 1: Stella By Starlight, How To Improvise

[@teaforone77]

Straight forward, concise, understandable, and informative! Thank you very much.

[@CharlesHarrisonMusicTuition]

Thanks teaforone77 check out some of the new content on the channel, I've been uploading loads recently. Cheers!

[@maliluha]

Great lesson, Charles! Much appreciated. Cheers from Russia!

[@CharlesHarrisonMusicTuition]

Thank you for taking the time to say so, cheers!

[@davideichler5105]

Simpler and more harmonically clear: E flat major is IV of B flat major and A flat 7 is another way of voicing IV minor. IV major to IV minor to I is a very common harmonic device. And B-flat minor to E-Flat 7 is not A-flat major. It is a minor plagal cadence to the F major in the following measure. Again, IV minor to the I in F major, this time without IV major preceding this, though as you suggest, I tend to think in terms of B-flat with a raised 4th degree when I get to the F major. As for the G7 in the 17the measure, that is V of the following C minor and would natural take a flat 9. Using a natural 9 and the whole tone scale or something else using that extension is a reharmonization. And, no, an E-Flat minor chord in the key of B-flat does not naturally take E-flat melodic (or harmonic) minor, though, you can superimpose that there if you do it right, with D as a passing note.

[@CharlesHarrisonMusicTuition]

Hi David, thank you so much for taking the time to leave such a thorough comment. I would love to discuss these thoughts further with you in a video call if you have the time? I shared some of my thoughts on the harmonic devices you mention in my "Spicy 2 5 1s" video which was well received. Let me know if you're available and I look forward to chatting soon 🎸

[@lonegroover]

Nice work, very helpful

[@CharlesHarrisonMusicTuition]

You're very welcome. Thanks for your time 👍

[@danielpuntoriero7238]

Que buena clase Charles!!! Me has simplificado el tema!!! Muchas gracias amigo!!! Abrazo!!!

[@CharlesHarrisonMusicTuition]

Gracias Daniel!!

[@stevewhite3753]

Excellent job

[@CharlesHarrisonMusicTuition]

I appreciate you taking the time to say so, Steve. Many thanks 👍

[@tripsr4kids]

In bars 17 and 18 (G7b13 aka G7+5), you can play C harm minor as well.

[@CharlesHarrisonMusicTuition]

You certainly can! Nowadays I would use the Eb Bebop scale here

[@tripsr4kids]

@@CharlesHarrisonMusicTuition interesting choice. why did you choose that?

[@CharlesHarrisonMusicTuition]

Eb being the relative major of the C minor. Eb/D# is the #5 of G, the bebop note B is the 3rd and the other notes of the scale include b9 and #9. Endless cool voicings!

[@CharlesHarrisonMusicTuition]

@@tripsr4kids some killer playing on your channel btw, it won't let me comment as it says you're a kids channel, but the playing certainly isn't PG!!

[@tripsr4kids]

@@CharlesHarrisonMusicTuition thx man! yea i originally put it up as a kids music channel. you see how that went lol!

[@Panchissimo3]

Awesome thanks

[@CharlesHarrisonMusicTuition]

You're most welcome, cheers!

[@jittapolanuccavech8134]

Great lesson , Thank you.

[@CharlesHarrisonMusicTuition]

Thanks for taking the time to say so, Jittapol!

[@lucasbretels]

Well done given lesson, Charles!, thanks for posting.

[@CharlesHarrisonMusicTuition]

Always a pleasure Luc!

[@suvankarghosh5464]

9:41 no context to that chord, it's come out of the blue [sic]. Actually it's a backdoor 2-5-1.Instead of playing Ab Maj7 you play Fmaj7th.

[@CharlesHarrisonMusicTuition]

It certainly is! Check out my 'Spice Up Your 2-5-1s' video for variations on the backdoor and more Barry Harris family of 4 content. Cheers!

[@suvankarghosh5464]

@@CharlesHarrisonMusicTuition Sure mate. Checking out.

[@CharlesHarrisonMusicTuition]

@@suvankarghosh5464 Thanks!

[@paulsamarin4341]

Bro, I'm your guitar bro and you don't even know me. Ya get what I'm saying. It's freaking awesome how you explained when to use certain scales over the chords. That was knowledge I was glad to learn from you...Thanks man! But, it would have been amazing if you played the whole song from start to finish. I'm working on it. It would be cool to see your interpretation.

[@CharlesHarrisonMusicTuition]

Completely understood! Cheers for saying so dude 👌

[@boredflamingo1313]

You’re a star! Great explanations. Thanks.

[@CharlesHarrisonMusicTuition]

Glad it was helpful! Cheers

[@dnikhilrao]

A little over my head but glad I found this lesson. Thanks! I do understand modes but not fluent with them. Didn't understand the logic behind why the Ab7 is there in the tune in the first place, and why you play the Lydian Dominant mode of the Melodic Minor over it.

[@CharlesHarrisonMusicTuition]

Cheers for your comment. The flattened 7th degree chord appears frequently in jazz so we need to learn to recognise it. In the scale of C (c d e f g a b) the flattened 7 chord would be a Bb7 chord. The notes of this chord (Bb d f Ab) affect our original C scale (see my which scale over which chord series) and this gives us the notes of a new scale (Bb c d e f g Ab). This is technically called the Lydian dominant, but rewritten starting on the F note gives us (f g Ab Bb c d e) which is our melodic minor scale. Therefore a chord built on the flattened seventh in a major key requires us to play the Lydian dominant mode. Hope that helps 😅 feel free to contact me via my website and we can speak in person to clarify this! Cheers

[@dnikhilrao]

@@CharlesHarrisonMusicTuition thanks for replying, makes sense! Will check your website out, cheers!

[@janivelic2316]

this is a second time I spent half an hour trying to figure out everything you said the first time ;) I didn't catch that Gb melodic minor...that is how it's played on 2-5-1 major...tritone substitution? Could you elaborate tritone subs in other video? Thanks! Awesome video bro!

[@CharlesHarrisonMusicTuition]

Hi Jan, apologies for the delay in response. Check out this Family of Four video for more info on Tritone subs and other substitution tricks: kzbin.info/www/bejne/havaq36IZrWdfJY

[@davidsimmonett3203]

Hi Charles, really good lesson, thank you. What do you think about the tune "Indian Summer" by Victor Herbert? Could you do a lesson and analysis on this tune. David.

[@CharlesHarrisonMusicTuition]

Thank you very much for your kind words, David! Yes I will certainly look at "Indian Summer" in the not too distant future. Cheers!

[@sallayjeno2994]

Cm7|F7 | this two chord use G flat melodic minor?😮

[@CharlesHarrisonMusicTuition]

It certainly can do if you want, this would imply F altered. Not always appropriate as this is a major 2-5 really but depends on you!

[@eternalrainbow-cj3iu]

Okay nice Monkian ending, like the sound I learned also that it is especially nice to substitute Dm7b50G7 Cm7b50F7 by Ebm7-Ab7 over one bar then the Dm7b5-G7 then Dbm7-Gb7 then Cm7b5-F7, and your idea put to that maybe with some tritone subs extra???

[@CharlesHarrisonMusicTuition]

Phwoaar now we're talking harmony! I've increasingly got into Monk these last few years and Bernstein's interpretations of Monk's compositions. Cheers

[@georgethompson1535]

Do you have a video that explains what scales over what chords like this but more generalized?

[@CharlesHarrisonMusicTuition]

Hi George, check out my playlists and there's one literally called 'Which scale over which chord' I think you'll enjoy the scales that method creates! Don't hesitate to contact me for any queries, cheers

[@arvh1952]

nice.. do u have the scales written next to the chords anywhere by any chance? thanks

[@CharlesHarrisonMusicTuition]

Hello, if you email me at [e-mail] I can easily do that for you. Cheers!

[@WBUSCH49]

I subscribed!! Cou;d you please adapt the moda; generic sompression to this tune and do you know a way to substitute Em7b5 by the alt scale??discussion on the web because of solo McCoy Tyner over autumn leaves in question to Tony Winston!! I would be tremendous Thank full!!!Or Hot House also Great!!!

[@CharlesHarrisonMusicTuition]

The altered scale can be played on the root note, or the second note of a minor7b5. For example, Cm7b5 is constructed of the notes C Eb Gb Bb, all of which exist in the C altered scale. They also all exist in the D altered scale! So play the altered scale on the root, or a tone above the root. Regarding GMC on Stella, the original book uses Stella as the basis for all examples and exercises so I don't think I can say anything original about GMC on this tune that can't be found in Tim and Mick's GMC book. I highly recommend tracking down a copy from Berklee press. Cheers, Charles

[@pffddspc]

Just curious. Is that a Zaletelj guitar that you are playing?

[@CharlesHarrisonMusicTuition]

@@pffddspc this is a kiesel hh7. I'll have to check Zaletejl out!

[@pffddspc]

@@CharlesHarrisonMusicTuition Did you go with the stock Holdsworth pups? I like the sound, whatever the pick ups. I may buy one.

[@willzang3000]

In Mark Levines book he mentions that the half dims actually come from the 6th mode of melodic minor !!! not a tone below but a monir third above, and then on the A7b9 for instance going to Bb melodic, so the 25 is Ehalf (G melodic) to A7 Alt (Bb Melodic) etc, great book, good vid still, not hatin just sayin

[@CharlesHarrisonMusicTuition]

This is definitely one way of thinking about it, and I often use this interpretation by adding a natural 9 to minor 7b5 chords. However, you'll find guys like Barry Harris and Hal Galper (real hard boppers) interpret any half diminished or fully diminished as the 3rd degree of a dominant chord, creating a dominant 9 or dominant b9 respectively. There are so many wonderful ways we can interpret the incredible magnetic pull that is harmony! Cheers for your comment, don't worry about 'not hatin'', I love these discussions!

[@willzang3000]

@@CharlesHarrisonMusicTuition yes yes awesome ! defintiely in tune w the 6th dim approach of BH ! the method i mentioned ive been finding useful in sequencing phrases ! cheerio

[@marioromero84]

Hello Charles! I'm afraid that you're misusing the term "minorising" in your videos. The term "minorising" is a concept that some jazz masters -Jimmy Raney, Pat Martino, Allan Holdsworth or Scott Henderson- use when it comes to improvise over a given chord or chord progression. Namely, it's the practise of seeing each chord type in terms of a related minor. For instance, a F#m7b5 could be "minorised" as a A dorian scale or a Am6 chord/arpeggio. Your videos are really good, mate. I appreciate the style of your teaching method. Keep up the good work and greetings from Spain!!

[@CharlesHarrisonMusicTuition]

Hi Mario I appreciate you taking the time to comment. It is not a term I have learned anywhere, just one that I came up with for my own personal understanding and interpretation of harmony. You'll find I use quite a lot of terms incorrectly, some which I'm aware of and others such as minorising which I wasn't aware of! I'll be more careful of this one in future, but I hope students will find their own language and terms for patterns they notice in their studies-. I find these ones stick the best. Cheers again for the definition and for watching 🙏

[@marioromero84]

@@CharlesHarrisonMusicTuition I absolutely get what you mean! ; ) If you want to explore more on that concept, you can check out the Guitar Techniques magazine, from June 2002 and read the Shaun Baxter article. Cheers, mate!