Stella By Starlight Tutorial Part 2
In part of this tutorial we jump straight in with upper structure triads. These chords are particularly useful when there are upper extensions and alterations in the melody.
We cover a useful movement in major 251s to achieve and interesting version of the II-11 chord leading to a V7b9#11 with very smooth voice leading. I demonstrate this in 2 keys and recommend that you apply the formula to other keys in your practice time.
Next we look at a number of interesting rehamonisations. This tune is very commonly played and so adding in substitute chords is an effective way to spice up the chord changes.
We finish off by discussing a pedal point that can be used to transition from a downtempo variation of the tune, into a faster up tempo version. Pedal points are an effective tool to establish the change the feel or feel of an arrangement.
Hayden, another great tutorial as usual. This reharmonization at the beginning (the RH upper-structure sequence over the A-G in LH) reminds me a lot of what Herbie also does in the opening to the Miles tune “So What” on Kind of Blue. Check it out again – it’s a bit more elaborate there. Haven’t checked but I think the key is different, and he uses more upper-structure chords in the sequence. No idea how they would compute in terms of U-S voicings but it got me thinking that you could probably play chords right up the scale – C/Db/D/Eb etc. over a shell seventh chord – major or minor seventh – in the LH and each one would produce a different kind of alt7 chord. For example, with C-G-Bb in LH adding a B second inversion (F#-B-D#) would be a C7#11#9 (?!?). I have to go and play it now to see how it sounds!
How did you come up with the chord substitution from BbMaj7 to become D7b9, G9sus4? It doesn’t seem to follow any common chord substitution ‘rules’ I’ve come across before so I’m confused by where this might have come from. Any suggestions on what situations to look for where this substitution could be used in other tunes?