Stella by Starlight

**andrewC** · 02-27-2008, 09:25 AM

Dirk,
I love this arrangement and is the first good piece I have leant to play where I am more or less self sufficient. It makes you want to improvise effortlessly - if only I could! I tried to figure out where the the chords were coming from in the key of Bb. I can see Cm11 is the 2nd diatonic chord, F7 is the dominant and Ebmaj7 is the 4th. But what about the first 2 chords for example, Em7b5 and A7b9 for example? Am I right is saying that these are substitutions for Bb6 and Bm6 respectively and correspond to the former chords when the base notes are included? They say a little knowledge is a dangerous thing so apologies if I am talking rubbish!

Yours lessons and this forum are great - thanks!

**m78w** · 02-27-2008, 10:13 AM

Hey AndrewC

The first two bars are a substitution for the original chords. The original change on the first two bars of Stella was Bbdim7, or Bbdimmaj7. This is what is called a Tonic Diminished chord. This chord is also found within the A7b9 chord, A C# E G Bb = A7b9, Bb C# E G = Bbdim7, and when you add the A you get Bbdimmaj7. So what someone did along the way when playing this tune was substitute the A7b9 for the Bbdim7, basicaly the same chord with a different bass note, then someone added the Em7b5 because it is the related iim7b5 chord to the A7b9 V chord.
So here is the process in a chart:

Original Chord: Bbdim7

Bbdim7=A7b9

First two bars become A7b9

If A7b9=V in Dm, then Em7b5 = iim7b5

So the first bar becomes Em7b5 and the second bar becomes A7b9.

hope that isn't too "heady", basically just think of The first two bars as a substitute for Bbdim7.

Another cool thing to do when blowing on the first four bars of Stella is to play Bb melodic minor over the first two bars, producing an A7alt sound, then play Bb major over top of Cm7 and F7, then if you want to keep the pattern going play Bb mixolydian over top of the Fm7 Bb7 and Ebmaj7.

So you can keep the same root and only change one note every two bars to make the changes like so:

First 2 bars Em7b5 A7b9: Bb C Db Eb F G A

Second 2 Bars Cm7 F7: Bb C D Eb F G A

Next 3 bars Fm7 Bb7 Ebmaj7: Bb C D Eb F G Ab

MW

**andrewC** · 02-27-2008, 06:18 PM

Hi MW

Thanks for this - it's very rewarding just being able to follow what you explained! Just started experimenting with the scales you suggested so I can hopefully put this into practice. I really appreciate your taking the time to set this out so clearly.

andrewC

**DMatthewsBand07** · 06-05-2008, 04:41 PM

Chord melody's one of my favorite ways to play but it's only really practical for ballads and medium swings. When you get into moderate tempos it's quite a bit more difficult to keep the harmony. Anyway, I loved the way that you kept the melody, and never lost the harmony. I was wondering what your trick is to choosing when to play the single notes and when to chord. I loved the little fills you did with the chording too. Sounded great, but if you (or anyone for that matter) have some suggestions that'd be awesome.

**SteveF** · 06-28-2008, 05:52 PM

Thanks for posting the great lesson. Very nice. I cannot finger that Em7b5 chord as written - big reach for me. Can't seem to find another Em7b5 voicing that works into the solo melody yet.

**DMatthewsBand07** · 06-29-2008, 06:41 AM

5
3
3
2
x
0

you don't really have to play that low E but it helps.

**SteveF** · 06-29-2008, 07:25 AM

I can't come close to reaching that one. I've been trying this one:

x
10
10
9
x
10

but it sure doesn't sound as good. Still working at it - that's part of the fun.

Thanks.

**DMatthewsBand07** · 06-29-2008, 02:09 PM

one thing to try is a Gmin voicing with the A on top and then just add the open E in the bass. Gmin contains all the notes of the Emin7b5 except for the E. (E) G Bb D. So maybe...

5
3
3
5
x
0

or maybe this one

x
10
7
8
7

that's a bit of a doozy though. Might I ask how you're fingering the original voicing that I mentioned above?

**SteveF** · 07-05-2008, 06:09 PM

I was trying...

5 - 4th finger
3 - 1st finger bar
3 - 1st finger bar
5 - 3rd finger
x - mute with tip of 3rd finger
0

I can reach it if hold the neck almost vertical (like a stand-up bass). In normal playing position I cannot nail it cleanly. But I'll keep at it. Got any good ideas for improving one's ability to spread their fingers out? I envy those who can effortlessly span 4 frets at the nut end.

**DMatthewsBand07** · 07-05-2008, 10:05 PM

Just play lots of chords. Also, for that voicing you were just talking about try hybrid picking (bass with your pick, treble with your fingers and avoid that A string altogether. Might make it easier.)

**On Sugar Hill** · 07-18-2008, 08:45 PM

So are you actually picking with your pinkie too when you go hybrid? That seems so weird to me but sounds really good.

**Ben** · 09-02-2008, 11:51 PM

Could dirkji or somebody send me the J SONCE.STY file for Band in a Box? That would be great thanks.

**mike walker** · 09-03-2008, 03:55 AM

'And the reason the chord was Bdim7 was because it was the viidim7 chord of Cm7, which is the next chord in the tune, kind of a dominant chord in Cm'.

Matt, it was Bbdim7 not Bdim7th, so the relationship to Cm is not v i. Or did i miss something?

Mike

**m78w** · 09-03-2008, 09:26 AM

I just reread my post and that was a typo, I just took that sentence out of the post so it now makes sense.

Mw

**mike walker** · 09-03-2008, 09:41 AM

Always glad to help.

**m78w** · 09-03-2008, 09:53 AM

That's the cool thing about having so many people visiting this site, is that no one can get away with typo's or mistakes!

Thanks again!

MW

**perfischer** · 09-05-2008, 02:44 AM

Originally Posted by Ben

Could dirkji or somebody send me the J SONCE.STY file for Band in a Box? That would be great thanks.

Very cool lesson, many thanks. I'm also interested in the J SONCE.STY - my BiaB chooses JAZZ.STY, which is not too bad I guess

Per

**nikki-lea** · 11-16-2008, 12:15 PM

on bar 17 was do the marks mean after the chord

**m78w** · 11-16-2008, 01:41 PM

The squiggly line with the arrow means to strum the chord from the lowest note to the highest note.

MW

**nikki-lea** · 11-16-2008, 02:33 PM

Thankyou

**hotgoalie11565** · 12-21-2008, 09:42 PM

Question for you, Dirk. I know you're on vacation but hopefully you'll answer when you return.

As far as the nails on your picking hand, do you tend to keep your nails short or do you grow them out a bit so the notes don't sound so muted?

Merry Christmas.

**pierre richard** · 12-22-2008, 08:15 AM

maybe
3
3
3
2
x
x

or
6
5
3
5
x
x
time on the instrument........pierre

**Peet** · 08-26-2009, 05:53 AM

Hi Dirk,

Thank you for this video. I love it and it's very helpful. I still have a question though. You play the cords without the basses as this is obviously played by the bass player. I wondered wether you retain the fingering for the rest of the cord, I wasn't able to make that out completely from the video. Or do you place your fingers for the cords as is most practical with respect to the cord that follows?

**roosterjazzez4u** · 03-16-2012, 12:19 PM

Hi Dirk,
l like your presentation of Stllea By Starlight. For someone who is trying to learn the standards and learn how to be a trio leader, dou or accompiament
player. Having the meldoy form recognizible is key for actually learning the tune. l have heard all kinds of version of trying to teach this tune. And if you never heard the original, you would recognize the melody from some of the versions l've heard. So thank you ! Now l feel like l can learn this beautiful song!