The following slides show the Key Positions for You Stepped... 3 Changes, and the basic “meat and potatoes” jazz chord voicings... fret
The following slides show the Key Positions for You Stepped Out Of A Dream, organized
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 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. 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.
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 your
voice. Keeping the flavor of the original melody weaving in and out of your improvisation, is what
makes every solo unique.
To hear a great improviser's concept of a melody, listen to Louie Armstrong sing. You hear
the same concept coming through his horn. Too many aspiring improvisers today play the melody like
it’s a “excuse”, something just to get over with so they can jump into their theoretical “lick” bag. This
tends 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 the
melody of a tune in your mind, you don’t know the tune. If in your mind you can’t scat sing an entire
chorus 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’re
connected to your inner self, and how well you know the Tune. Play the Chords, and sing the melody
over and over again against them. Then put the guitar down, and sing the melody in your mind. Have
you got it? If not, go back and sing the melody against the chords again. When you can do this
listening 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 need
them as guides any more.
Here is an example of using the imagery of the lyrics to not only inspire you, but also to to
keep track of the Key Changes. Bear in mind that I use one key designation to indicate all of the
major 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 15 beats 3& 4
Measure 16, beats 1&2
Measure 15 beats 1& 2
Measure 16, beats 3&4
Measure 26, beats 1&2
Measure 26, beats 3&4
Measure 27, beats 1&2
Measure 27, beats 3&4
Measure 29 beats 1&2
Measure 28, beats 1&2
Measure 29, beats 3&4
Measure 28, beats 3&4
Measure 30, beats 1&2
Measure 31, beats 3&4
Measure 32, beats 1&2
Measure 32, beats 3&4