The following slides show the Key Positions for You Stepped Out Of A Dream, organized around the 3 rd fret of the guitar. This is the way to organize and work out a tune. Here, I show the Key Changes, and the basic “meat and potatoes” jazz chord voicings within them. By referring back to Modal Origins, you can study each of the Five Basic Key Positions, their root position chord voicings and arpeggios. This will enable you to use the positions to work out the tune over the entire fret board. The Key that Out Of A Dream starts and ends in is C. However, the chorus modulates through several Keys. In The key of C, Starting Points Key Position One has its lowest tone on the Open E string Key Position Two has its lowest tone at the 3 rd fret. Key Position Three has its lowest tone at the 5 th fret. Key Position Four has its lowest tone at the 7 th fret. Key Position Five has its lowest tone at the 10 th fret. Key Position One an octave higher has its lowest. tone at the 12 th fret. With these as starting points, work out the tune over the entire length of the Fret Board. This is the most direct approach to learning how the guitar functions as an instrument. You will find yourself using the same five key positions over and over again. Always work with a tune in mind. To Work Out The Arpeggios of the Chord Progression, see Essential Arpeggios.
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The following slides show the Key Positions for You Stepped Out Of A Dream, organizedaround the 3rd fret of the guitar. This is the way to organize and work out a tune. Here, I show the KeyChanges, and the basic “meat and potatoes” jazz chord voicings within them.
By referring back to Modal Origins, you can study each of the Five Basic Key Positions, theirroot position chord voicings and arpeggios. This will enable you to use the positions to work out the tuneover the entire fret board. The Key that Out Of A Dream starts and ends in is C. However, the chorusmodulates through several Keys.
In The key of C, Starting PointsKey Position One has its lowest tone on the Open E string
Key Position Two has its lowest tone at the 3rd fret.
Key Position Three has its lowest tone at the 5th fret.
Key Position Four has its lowest tone at the 7th fret.
Key Position Five has its lowest tone at the 10th fret.
Key Position One an octave higher has its lowest.
tone at the 12th fret.
With these as starting points, work out the tune over the entire length of the Fret Board. Thisis the most direct approach to learning how the guitar functions as an instrument. You will find yourselfusing the same five key positions over and over again. Always work with a tune in mind. To Work OutThe Arpeggios of the Chord Progression, see Essential Arpeggios.
Even if the content of the lyrics to a tune turn your stomach, it’s a good idea to know them.You can use certain words in the lyric as reference points for when the Key Changes occur. Plus,singing the lyrics in your head as you improvise turns you into a jazz singer using the Guitar for yourvoice. Keeping the flavor of the original melody weaving in and out of your improvisation, is whatmakes every solo unique.
To hear a great improviser's concept of a melody, listen to Louie Armstrong sing. You hearthe same concept coming through his horn. Too many aspiring improvisers today play the melody likeit’s a “excuse”, something just to get over with so they can jump into their theoretical “lick” bag. Thistends to make all their improvisations on every tune sound basically the same
If you can’t sense the feeling of the Chord and Key Changes as you sing through themelody of a tune in your mind, you don’t know the tune. If in your mind you can’t scat sing an entirechorus freely without losing track of the melody, you don’t know the tune.
The object is to get what you truly hear and feel within you, to come through the guitar.Your guitar doesn’t create the music. Confidence during this process comes from how securely you’reconnected to your inner self, and how well you know the Tune. Play the Chords, and sing the melodyover and over again against them. Then put the guitar down, and sing the melody in your mind. Haveyou got it? If not, go back and sing the melody against the chords again. When you can do thislistening within you, then it’s the right time to pick up the guitar, and start trying to play what you hear.The basic Key Positions will help to guide you until you just go with what you hear, and don’t needthem as guides any more.
Here is an example of using the imagery of the lyrics to not only inspire you, but also to tokeep track of the Key Changes. Bear in mind that I use one key designation to indicate all of themajor and minor Modes contained within that Key. The key change words are underlined.
(Key of C) You stepped out of a dream (Key of Ab).
You are too wonderful to be what you seem.
Could there be eyes (Key of F) like yours
Could there be lips like yours
Could there be smiles (Key of Bb) like yours
Honest and tru- (Key of Db) –ly (Key of C)
You stepped out of a cloud (Key of Ab)
I want to take you away, away from the
crowd. (Key of Db) And have you all to my self (Key of C)
Alone and apart. Out of a dream safe in my heart
Measure 1 Measure 2 Measure 3
Measure 4 Measure 5 Measure 6
Measure 8 Measure 9Measure 7
Measure 10 Measure 11 Measure 12
Measure 13 Measure 14 Measure 15 beats 1& 2
Measure 16, beats 1&2Measure 15 beats 3& 4 Measure 16, beats 3&4
Measure 17 Measure 18 Measure 19
Measure 20 Measure 21 Measure 22
Measure 23 Measure 24 Measure 25
Measure 26, beats 1&2 Measure 27, beats 1&2Measure 26, beats 3&4
Measure 27, beats 3&4 Measure 28, beats 3&4Measure 28, beats 1&2
Measure 29 beats 1&2 Measure 29, beats 3&4 Measure 30, beats 1&2
Measure 31, beats 3&4 Measure 32, beats 3&4Measure 32, beats 1&2
Measure 1
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