Yesterday, I discovered a sequence in Stan Getz’s 1952 Clef recording of “Stella by Starlight,” (MGC 137). The three-by-three format unfolds as Stan finishes the bridge on his first chorus. Here it is:
If you’ve studied “Stella,” you know that the final 8 bar section of the form contains the intriguing 6-bar harmonic sequence shown below:
As shown here, that harmonic sequence features 3 iterations of 8 beats each, for a total of 24 beats. But Getz begins his amazing melodic sequence 2 beats before the passage shown above, so he needs to fill 26 beats.
The diagram below illustrates the incredible way he accomplishes this Herculean feat. Stan’s motif of six eighth-notes covers 3 beats and is repeated three times on each of three starting notes. But on the second iteration of round two, he leaves out a beat. Thus, the total episode comprises 9 + 8 + 9 = 26 beats. Even at 160 beats per minute, Getz is able to execute this monumental feat so smoothly that it sounds effortless.
Looking for a refreshingly novel approach to playing over a minor ii-V-i ? Here’s an idea by Stan Getz. It’s from bars 15 & 16 in the first chorus of his solo over “O Grande Amor” from “The Stockholm Concert.”
B flat instruments start at line 1. Concert key instruments start at line 3, and E flat instruments start at line 12. (Double back to the beginning when you reach the end of the chart.)
The vast recorded legacy of legendary tenor saxophonist Stan Getz still astounds the jazz community. Here it is in words and music. From his earliest days with Jack Teagarden, Stan Kenton, Benny Goodman, and Woody Herman to the phenomenal smash hits “Desafinado” and “The Girl From Ipanema” (which sparked the 1960’s bossa nova craze), to his sublime later work with pianist Kenny Barron, Stan Getz continued to galvanize the musical world with his unparalleled technique, unmistakably unique sound, and gorgeous lyricism. Take a tour with us of this amazing 40-year jazz odyssey.
Brazilian bossa nova’s introduction to the U.S. thanks to composers Luiz Bonfá (Samba de Orfeu and Manhã de Carnaval), Antônio Carlos Jobim (Desafinado, Girl from Ipanema, Corcovado, etc.), and instrumentalists João Gilberto and Stan Getz literally transformed the jazz landscape overnight.
For the past 50 years, casual straight-ahead jazz gigs have invariably featured at least one bossa per set.
Familiarity with the following exercise will greatly enhance your facility with the melodic and harmonic nuances found in these wonderful compositions. Here is the basic lick:
Here is a recording of the lick played in all 12 keys:
Develop your ear to flawlessly play passages such as this one in all 12 keys by downloading and working through “New Ears Resolution.”
Even many accomplished musicians never learn the fine art of playing by ear. A strong ear is a “must” for those of us musicians with visual disabilities. I owe my ear to a uniquely inspired teacher. The story begins in 1963. Continue reading “HOW I LEARNED TO PLAY BY EAR”→
Kenny Barron’s wonderful composition Voyageis a particularly apt vehicle for Stan Getz. The phrase in bar 4 especially caught my ear (example A.)
It would be fascinating to ask Mr. Barron whether he conceived of Voyagerapidly or – as often happens – the piece evolved over a period of time.
Focusing on bar 4, you see that the melody outlines the F7(b9) chord as shown in example A above. It’s tempting to speculate that the appoggiatura was originally part of the F7(b9) arpeggio. The Eb then takes its place as the 7th in the F7(b9) chord, as shown in Example B. Of course, Voyageas we now know it is far hipper than it would have been if bar 4 looked like Example B!
Speculation aside, one way you will definitely improve your instrumental technique is by playing figures such as this one in all 12 keys around the Circle of Fifths, starting with a slow metronome setting and gradually increasing the tempo.
While I practiced this particular lick, I experimented with various rhythmic combinations. If you do that, you will keep your imagination engaged, so that your practice time does not degenerate into a dry, lifeless exercise. You will also develop your own stylistic preferences, so that choosing the hippest rhythm for an improvised passage will not slow down your reflexes during performance. Some of the iterations I tried are shown in Example C.
The first iteration emphasizes the third of the chord – the “sweet note.” The rest of the sketches experiment with various rhythmic syncopations. Perhaps you also will benefit from playing along with the final lick in all 12 keys using this background track: