The following slides show the Key Positions for You Stepped Out Of A Dream, organized around the 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. 3rd 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 1 Measure 4 Measure 2 Measure 5 Measure 3 Measure 6 Measure 7 Measure 10 Measure 8 Measure 11 Measure 9 Measure 12 Measure 13 Measure 15 beats 3& 4 Measure 14 Measure 16, beats 1&2 Measure 15 beats 1& 2 Measure 16, beats 3&4 Measure 17 Measure 20 Measure 18 Measure 21 Measure 19 Measure 22 Measure 23 Measure 26, beats 1&2 Measure 24 Measure 25 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 1 Measure 32, beats 1&2 Measure 32, beats 3&4