Hello ,

In this lesson I want to demonstrate how we can use this idea of alternating I6 and V7(b9) (can also be referred to IIdim7) on the standard “Star Eyes”.

I will talk in E flat. The first chord is CMaj7, then we have a II-7 V7 IMaj7 in C, so for the first 3 bars you can alternate C6 and G7(b9). Don’t worry about the theoretically “wrong” notes. Remember, what makes a note right or wrong is how you brought that note (what you played before) and how you leave that note (what you play after). Because you are alternating I and V you create a harmonic force, a momentum, a logic, that give meaning to the phrase and build tension and release.

Then on C-7 F7 | BbMaj7 we use Bb6 and F7(b9).

Remember that this works also with the relatif minor! C6 is similar to A-7 and G7(b9) is similar to E7(b9). The diminished chord from G7(b9) is B, D, F, Ab. The diminished chord from E7(b9) is G# (enharmonically Ab), B, D, F. Both dominant chords give you the same diminished chord. It is symmetrical in the cycle of minor thirds, so Bb7(b9) and Db7(b9) will give you the same diminished chord.

On the II-7 V7 in D use D6 and A7(b9).

On the bridge you have 2 bars in F, use F6 and C7(b9). 

F-7 Bb7 | EbMaj7, use Eb6 and Bb7(b9).

The first 8 bars of the last A section are the same as the first A but there is a 4-bars extension. On C7 play F6 and C7(b9), on B7 play E6 and B7(b9), on Bb7 play Eb6 and Bb7(b9) and on A7 play D6 and A7(b9). 

Homework:

Write your own “etude” on Star Eyes using this concept.

Then improvise using this concept but don’t try to be super strict about it. Play with a melodic shape and transform it, have fun with if!