Here are the last eight measures of Stella By Starlight using regular voicings
now listen to this version...
the voicings that we're going to show you in this video, not only sound modern but they allow the
soloist to take their lines to new places. This is because we're using constant structures that work
over the chords that are built using inversions of quartals. In fact every single one of the
voicings, I'll show you today, are made out of upper structure quartals. If you're curious about
upper structure quartals remember that we have an entire course on them on mDecks.com, but today,
I want to give you these four quartals, that you can use on these 2-5' in minor. So make sure to
stick around until the end of the video, where I'll show you not only how to download a PDF
including the solo that you heard at the beginning of the video but also, today's exercise in all
keys. The two quartals that we're going to use on the m7b5 chords are: the one on the 4, and the one
on the root. And on the V7 chords, we're going to use use: the one on the b7, and the one on the b3.
But we're going to invert them. Remember, you can invert any quartal,
exactly as you invert any chord. For example: the quartal on the 4 of Em7b5 is just a 47
(A47) in first inversion (which you can see as a Dsus4), and in second inversion (which is nothing
else than a Gsus2) So the voicings that we're using on Em7b5 are: Gsus2 and Asus4, which is
the first inversion of our quartal on the root (E47). And now you have a shortcut of sorts. For
m7b5 chords: play the sus2 on the b3, and the sus4 on the 4. Of course, I could have given you this
shortcut from the start, but I think you'll have a better understanding of these voicings if you see
where they come from, and how they are constant structures. Remember all these voicings are going
to be perfect quartals. We're just inverting them! So, on the Dm7b55 we'd play: the sus2 on the b3
(Fsus2), and the sus4 on the 4 (Gsus4). Please check out our upper structural quartals course
where we explain why these two quartals work on m7b5 chords. Now, for the dominant chords
I'll give you the final shortcut directly, but remember: these are all quartals. So, we're
going to play the sus2 on the b2 of the chord. On A7b9 we play Bbsus2, and the sus4 on the b3. So,
for A7b9 that's Csus4. When we put all the 2-5's from Stella By Starlight together we get this...
and it sounds new! and kind of eerie. And by the way,
at the end, for the Bbmaj7, I am playing the sus2 on the 5 (Fsus2).
Try playing this with your band and you'll see an immediate reaction from your bandmates. You're
actually creating a bunch of new possibilities for the soloist, the bass player, the drummer,
everyone in the band. And that's because you're painting a more impressionistic picture of the
harmonic progression. Please notice how we didn't just choose these upper structures at random. We
found a combination that not only uses constant structures, but also the movement between the two
voicings is exactly the same on the m7b5 chords and the dominant chords. You're moving up a whole
step from a sus2 to a sus4 on both chords. So, without the bass, are these voicings for a m7b5,
or a 7b9 chord? There's no difference! So today's exercise is this: Step 1: play the
four voicings across all keys on your left hand, using a whole step downward modulation pattern.
But don't think of the chord just yet.Ttry to learn just the shapes and movements at first.
Step 2: add the roots of the chords
you're now getting a better picture of your impressionistic version of the progression
Step 3: alternate between regular voicings and
these quartal voicings. This is an excellent exercise for ear training
All of our "exclusive access" members will get a PDF with today's topic.
If you're not a member yet, you can join by clicking on the join button,
or the link provided. YouTube seems to think you're going to like one of these two videos here,
so stick around and check one of those out. Thanks for watching.