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I don't understand this song. There are no hooks or melody. Am I just not hearing the right version? Has the whole world gone crazy?
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01-05-2017 09:46 AM
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Really? What versions are you listening to and what charts (if any) are you using? The melody is understated but the song seems hook laden to me.
Cheers
R
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Here's the original. It's OK. But covers - from Sinatra to U2 - I just don't get.
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To me, the real Beauty in this tune is the way it juxtaposes an otherwise mundane, diatonic melody against very interesting Harmony. If you play The melody without the harmony, there's really nothing to it. But from the first chord, you are getting really interesting things. Wonderful tension implicit in that first chord. Basically, it's a sub for a I chord? Try it with a straight Imaj7. That way, it has a completely different "meaning". This one's all about basic tension and release in my opinion.
Cole Porter is all about referencing the minor: parallel or relative. Or so Reg used to always say. Definitely one of my all-time favorite tunes. Perfect blending of musical elements with lyric. Cole Porter was generations ahead of his time in my opinion.
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Matt's description nails it for me as well. I love to play this tune, but only with an accompaniment or backing track. playing the tune straight solo, with no underlying harmonic support, has no enjoyment .
Originally Posted by matt.guitarteacher
On the other hand......I just don't get Stella by Starlight
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Wrote about this tune while back. Hope it gives you some ideas:
Night and Day: Mining The Music - Online Guitar Lessons
Cheers,
Mike
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love this bit: Originally Posted by Mike Outram
"So, when somebody asks you, ‘What are you using on the A section?’, you should say, ‘Obsession and Torment’."
Nice, Mike. Thanks.
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Can I ask you guys
In C , in the B section yeah ?
F#min7b5 , Fmin7 , Emin7 , Ebdim7
Dmin7 , G7 , C maj
Do you think these changes are correct ?
(Anyone got an original score ?)
(The Ebdim7 chord seems a bit off to me)
Any strong thought on this Guys n Gals ?
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Joe Pass has two or thee solo renditions the really capture the interplay between the melody and harmony. Originally Posted by newsense
Matt's description nails it for me as well. I love to play this tune, but only with an accompaniment or backing track. playing the tune straight solo, with no underlying harmonic support, has no enjoyment .
On the other hand......I just don't get Stella by Starlight
Sent from my iPad using Tapatalk
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Yeah, that's good, but I wouldn't call it the B section, it's the second eight of the A section. The B section would start on an Ebmaj7 in the key of C. Originally Posted by pingu
This is another 'Stella' situation where the Real Book starts on a iim7b5, and the actual changes start on a bVImaj7.
I wrote a contrafact on it that i recorded.
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Yeah I hear bVI as the first chord on most recordings I've checked, including the early ones.
That's a useful sub to know bVImaj7 V7(b9) --> iim7b5 V7(b9)
This progression
F#m7b5 Fm6 Em7 Ebo7 Dm7 G7 is good
bIIIo7 is the most common choice in standards when going from IIIm to IIm and you have an 6 or a 1 (of the key) in the melody.
I might also play:
D/F# Fm6 C/E Ebo7 Dm7 G7
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Great thanks Christian , I like it !
How about this
F#min7b5 , F#dim7 ,Emin7b5 ,Edim7 , Dmin7b5 , Ddim7 , C maj etc
Would you hate those changes ?Last edited by pingu; 01-06-2017 at 06:13 PM.
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Well no I wouldn't, the m7b5 --> o7 is like a minor ii-V Originally Posted by pingu
Em7b5 Eo7 is a lot like Em7b5 A7(b9) with a different bass, for instance. So the whole thing is like Woody'n'You or the last 8 of Stella.
Those changes don't fit the melody very well though. First couple of bars are OK, but we have D Db C on Edim7 which sounds a lot better on Ebo7.
When soloing - can mix it up. Those chprds could be the basis of your lines. If there's no piano, especially, but even if there is. Bop musicians often rendered these sorts of chord progressions as ii-V's when blowing.Last edited by christianm77; 01-06-2017 at 07:55 PM.
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BTW any suggestions for a modern reharm that would fit the changes?
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Well since you've all been deafening silent, here's is what I've come up with.
Here's Bill Evan's solo on Night and Day (in the original key of Eb) - his line at bar 25 is based on the following triads (Jordan would like this, although I suspect he's already checked it out.)
I've transposed the triad structure of the solo into C, the real book key. We have this:
F#m7 --> Am
Fm7 --> Ab
Em7 --> G
Dbo7 --> (Db going to) Gb
Dm7 G7 --> F
Notice that the triads are each built on the third of the m7 chord. Effectively, Dbo7 is being treated as a Dbm7 chord.
Also we have the bVII sub on G7.
Needless to say the whole thing is descending chromatically.
Now this reminds me of a sub my flatmate showed me which I think is quite common, for bars 9-16:
Am11 | Ab/Bb | G/A | Gb/Ab |
G7sus4 | G9 | C | % |
Not sure where it comes from exactly but it makes a very nice set of changes for a Bossa. Also it fits the melody more or less.
Anyway, lots and lots more info in the video...Last edited by christianm77; 01-08-2017 at 06:09 PM.
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OK How bout
|Dmin7|Fmin7|C7 B7|Bb7 A7|
|Dmin11|Db7#9|C6 etc
I'll get my coat ...
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And here is the 1959 Luis Bonfa version....
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And all this time, I thought it was just me. I feel a little better now. Thanks! Originally Posted by newsense
On the other hand......I just don't get Stella by Starlight
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Thought Id drop this here :-)
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Chris Standring version anyone:
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