Stella by starlight:
2nd solo
Improv by S. Farinoli

This second solo is much more difficult from a technical point of view than the 1st solo, mostly due to the use of a varying rhythm and also the use of a more articulate phrasing. Basically the use of the scales is very similar to the previous solo, but it is useful to analyze some particular points.
Bar 4. Diminished scale half-step of F
Bar 6. Diminished scale half-step of Bb
Bar 8. Arpeggio of diminished A. Besides the diminished scale, it can be useful to play the diminished arpeggio, usually a half-step above the chord. In this specific case, the arpeggio notes of the diminished A are used on the Ab7 chord.
Bar 9. A classical blues phrasing developed vertically on the Bbmaj7 chord.
Bat 12. Sixth minor intervals, that chromatically develop in ascending fashion, amd must be played using the pick/finger hybrid technique.
Bar 17. Transposition of the same pattern for major third intervals, typically used on dominant altered chords or, as in this case, on augmented chords.
Bar 22. Use of third intervals on the tone-semitone diminished scale of Ab.
Bar 26. Scale of A superlocrian.
Bar 28. Scale of G superlocrian. Notice how the phrasing is developed by copying the characteristics from the previous bars. In fact, the phrasings of Em7b5 - A7b9 (bars 25 and 26) and Dm7b5 - G7b9 are very similar. This is a common system when you continuously change root.
Bar 30. Arpeggio of F# diminished.

Stella by starlight Normal speed base Reduced speed base 1st Solo 2nd Solo

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