Here are the chords

http://www.jazzguitar.be/stella-by-starlight.html
Here's what I have so far:
ii/iii V/iii ii V ii/IV V/IV IV (Ab7?? how does this function?)
Then the bridge Bb/Gm7 Edim7 A7 confuses me... help me out for the rest please
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[]benfoust 3 puntos 1 año atrás
Oh, brosephius.
For tunes like this that are just swimming in changes, you got to think of them
in terms of key center.
Like that first Emb5 to A7b9, that's a ii-V to D min. But instead it goes to Cmi
n, then F7--which seems like it'll be pointing out the key of the tune (and fina
lly providing context for Stella's super diatonic melody), but then it goes to t
he parallel minor of the dominant chord (Fmin) and hits a ii-V in that key (Fmin
7 | Bb7), to Eb7 around the circle of 4ths to Ab7.
Then it performs what's known as a backdoor sub, where the dominant chord built
off the dominant 7th of the key serves to take one right into the maj7 chord.
So, you CAN explain the first 8 bars in words, but you got to think of it in ter
ms of key center. If you're thinking "V of V" like some plebian violist (nothing
but love for you-all string players, I know I couldn't do it for sure), you're
going to be performing too much mental acrobatics.
As for the bridge, it's G7#5 | % | Cmin | % | Ab7#11 | % | Bbmaj7 | % |, isn't i
t?
Holy God, these changes are so good. The first scale/chord is G wholetone, and t
he structure's like G B Eb F, innit? Well, look at the next 4 chord tones, Brose
idon--C Eb G Bb. The fifth becomes the third, the root becomes the fifth, the th
ird resolves down a step to become the seventh, and the seventh jumps a fourth t
o become the root. This right here describes why Victor Young belonged to some a
lien master race that one day will return to kick our ass.
But the next one is even more gorgeous. The root becomes the third, the third be
comes the fifth, the fifth resolves up a half step to the root, the seventh reso
lves up a whole step to become the third. And get this--if you were smart enough
to play the ninth last time, it becomes the COLOR TONE. Color tone is conserved
across changes! Haha! What?!
Next one is pretty nice too--another backdoor sub, but the color tone last time
becomes the third, which is also not too bad. Root up a half step to seventh, th
ird down a whole step to root, #4 becomes 3, seventh down a half step to fifth.
Then it's a series of diatonic minor ii-V's back to the tonic through the last 8
bars starting on #4halfdim and you're set.
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[]CLBr 3 puntos 1 año atrás
I want to bathe in your knowledge
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[]benfoust 3 puntos 1 año atrás
Are you an ex of mine?
All jokes aside, read every David Baker everything and Mark Levine's jazz theory
and work this shit out on your horn. Not magic. Effort.
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[]sstephen192 1 punto 1 año atrás
This is gold. Wonderfully explained. The only thing I would add is to go sit at
the piano and play through the changes once you understand what is going on harm
onically. Really pay attention to how each chord resolves to the next. Being abl
e to hear what's going on is just as important as being able to analyze.
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[]benfoust 2 puntos 1 año atrás
Or even AS you understand the harmonic stuff. For me, that's exactly how I learn
ed to understand the common tones and the voice-leading.
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[]potatoehorse 1 punto 1 año atrás
This sounds like homework...
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[]doob10163Avid Listener[S] 1 punto 1 año atrás
Well, kind of. It's not for an official class. I take private lessons and I was
told to take a shot at analyzing this piece of music
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