Nice, thank you! There's plenty of inspiration again. I try these three strategies next time around I play this song live - might help to stay true to the tune itself, rather than too much 'rambling'. Regarding the key aspect, Frank Sikora has a beautiful analysis of Stella By Starlight's harmonic structure(s) in his theory book. He also mentioned the diatonic melody aspect, how it ties in as a songwriting technique and more.
@@AdamLevyGuitar The English translation goes by "Jazz Harmony, Think - Listen - Play, A Practical Approach" by Frank Sikora. It goes a lil bit beyond the 'standard' analysis of jazz standards and aspects of ear training / musicianship - covering music theory aspects behind standards like Stella and even explaining possible origins of changes like the ones for Goodbye Pork Pie Hat. I got it way back in high school to prepare for those conservatory auditions, ear training and theory tests - haven't found a more practical and detailed overview about these topics since -
Thanks ! Well done. I love the "strategies" approach. I'd be interested in motivic strategies (which I've been working on), but it's all good. Most of all, have a lot of tools in the toolbox so you don't bore yourself or others!
Hello, i love your Improvisation strategies videos!! Do you also have suggestions for tunes like giant steps or moments notice? I find myself struggling with Songs like that with high tempo and quick key centre changes
Adam! As always, another great lesson! This prompted me to check your tour dates to see if your coming near the Dallas/Ft Worth area cuz I have yet to see you play live...sadly, nothing posted yet. But I did see you'll be in my ole MAINE stomping grounds in August in Bar Harbor.....or as we say, "Bah Habbah"! Have a blast and enjoy the quiet Maine seacoast! Peace! Doug
I can't wait for Guitar Intensives in Bar Harbor! It's true, I don't get to Dallas/Ft. Worth very often. I was there in February with Kat Edmonson. No other Texas plans on the books for now.
@@AdamLevyGuitar Well, danggit! I have a new film out in the 2024 film festival season all over the states...maybe our paths will cross whilst you're on tour in one of my festival cities! Peace!
Beautiful playing as always! I sometimes enjoy playing Stella over a modal G minor vamp, and only go to chord changes on the bridge. The melody allows for great complexity or simplicity in the harmonization.
Like your approach! As a listener FWIW I really like most melodies - and as much as I like structure, if the player is going to discard the melody I’d generally like to hear an alternative melody that feels right and well, melodic. But I don’t know much!
Great lesson, Adam! The majority of the melodies of the jazz standards from the Great American Songbook are largely diatonic in nature, featuring an occasional chromatic note for any number of reasons (passing, lyric accent, motivic, etc...). I think studying jazz improvisation from the concept of trying to play diatonically as much as possible is not addressed nearly enough. It's the opposite approach to the way we tend to study the language and one that requires a awful lot of discipline. Nice!!
The second approach felt more “organic” to me, but I can see where truly “hearing” the guide tones vs. intellectually contriving them could be equally organic.
Yes, I do know what you mean. I think context matters greatly. If you have a rhythm section behind you, and the harmonic progression is being outlined. that’s one thing. Think about One Note Samba. Each time the F is sounded, It has a different relationship with the chord underneath, and it sounds fresh. If you were to play that single note over and over again without any harmonic support, it would sound monotonous. Juxtapose that concept with a modal tune, where the harmony is static and all melodic interest has to be generated linearly by the soloist. I think in the case of standards with typical ii-V7 progressions, it’s a little of both of these concepts. Take a guitar/bass duo. In order to hear the chord changes someone has to play the guide tones to outline the harmonic movement. If those guide tones are played intuitively as part of an improvised melody like Wes Montgomery did, that’s one thing. If you have to intellectually contrive them by thinking, let’s say “G7 gotta play an F and B” that’s something entirely different and not desirable.
This was really helpful. Thanks!
Thanks for bringing this back down to earth. It's so easy to get lost in the theory. Well done!
Working on Stella this week
This is perfect!
Soothing Adam. Thank you.
Nice brother. The guidetone passes reminded me of jim hall.👌
Nice, thank you! There's plenty of inspiration again. I try these three strategies next time around I play this song live - might help to stay true to the tune itself, rather than too much 'rambling'. Regarding the key aspect, Frank Sikora has a beautiful analysis of Stella By Starlight's harmonic structure(s) in his theory book. He also mentioned the diatonic melody aspect, how it ties in as a songwriting technique and more.
I don't know that book. I'll look for it. Thank you.
@@AdamLevyGuitar The English translation goes by "Jazz Harmony, Think - Listen - Play, A Practical Approach" by Frank Sikora. It goes a lil bit beyond the 'standard' analysis of jazz standards and aspects of ear training / musicianship - covering music theory aspects behind standards like Stella and even explaining possible origins of changes like the ones for Goodbye Pork Pie Hat. I got it way back in high school to prepare for those conservatory auditions, ear training and theory tests - haven't found a more practical and detailed overview about these topics since -
Thanks ! Well done. I love the "strategies" approach. I'd be interested in motivic strategies (which I've been working on), but it's all good. Most of all, have a lot of tools in the toolbox so you don't bore yourself or others!
Hello, i love your Improvisation strategies videos!! Do you also have suggestions for tunes like giant steps or moments notice? I find myself struggling with Songs like that with high tempo and quick key centre changes
Those sorts of tunes, I think, require a different approach. I'll think on how I can talk about it here. Thanks for asking.
Adam! As always, another great lesson! This prompted me to check your tour dates to see if your coming near the Dallas/Ft Worth area cuz I have yet to see you play live...sadly, nothing posted yet. But I did see you'll be in my ole MAINE stomping grounds in August in Bar Harbor.....or as we say, "Bah Habbah"! Have a blast and enjoy the quiet Maine seacoast! Peace! Doug
I can't wait for Guitar Intensives in Bar Harbor! It's true, I don't get to Dallas/Ft. Worth very often. I was there in February with Kat Edmonson. No other Texas plans on the books for now.
@@AdamLevyGuitar Well, danggit! I have a new film out in the 2024 film festival season all over the states...maybe our paths will cross whilst you're on tour in one of my festival cities! Peace!
Beautiful playing as always! I sometimes enjoy playing Stella over a modal G minor vamp, and only go to chord changes on the bridge. The melody allows for great complexity or simplicity in the harmonization.
Like your approach! As a listener FWIW I really like most melodies - and as much as I like structure, if the player is going to discard the melody I’d generally like to hear an alternative melody that feels right and well, melodic. But I don’t know much!
Seems like you know plenty!
Your guide tone discussion really contextualizes that concept.. I heard you say “notey” before but not “rangey” 🤘🏻 lol..
Great lesson, Adam! The majority of the melodies of the jazz standards from the Great American Songbook are largely diatonic in nature, featuring an occasional chromatic note for any number of reasons (passing, lyric accent, motivic, etc...). I think studying jazz improvisation from the concept of trying to play diatonically as much as possible is not addressed nearly enough. It's the opposite approach to the way we tend to study the language and one that requires a awful lot of discipline. Nice!!
The second approach felt more “organic” to me, but I can see where truly “hearing” the guide tones vs. intellectually contriving them could be equally organic.
I think hearing the guide tones is important - tho' I don't think we always have to emphasize them, as the soloist. Know what I mean?
Yes, I do know what you mean. I think context matters greatly. If you have a rhythm section behind you, and the harmonic progression is being outlined. that’s one thing. Think about One Note Samba. Each time the F is sounded, It has a different relationship with the chord underneath, and it sounds fresh. If you were to play that single note over and over again without any harmonic support, it would sound monotonous. Juxtapose that concept with a modal tune, where the harmony is static and all melodic interest has to be generated linearly by the soloist. I think in the case of standards with typical ii-V7 progressions, it’s a little of both of these concepts. Take a guitar/bass duo. In order to hear the chord changes someone has to play the guide tones to outline the harmonic movement. If those guide tones are played intuitively as part of an improvised melody like Wes Montgomery did, that’s one thing. If you have to intellectually contrive them by thinking, let’s say “G7 gotta play an F and B” that’s something entirely different and not desirable.
@@kenster3554 Exactly.