Rhythm changes?

[Woody Sound]

Anyone know of any resources for concepts/ideas over rhythm changes?

[nick1994]

I'm against playing the changes on rhythm changes (except for the bridge). I usually play blues over rhythm changes, it sounds good to me.

[mr. beaumont]

Well...

Depends on tempo...the faster it is, the less changes (on the A section) I'm going to worry about....but just playing blues over the whole thing misses some fun opportunities. I mean, at least hit the V!

[docbop]

Anthropology is a classic Parker tune based on Rhythm Changes. So listen to some of the greats play Rhythm Changes. Find someone with a copy of the David Baker book How to Play BeBop Volume III the last ten pages of the book is on playing Rhythm Changes. It has chord subs to use and sample lines. A lot of Jazz tunes are based on Rhythm Changes so take your time and dig in work on them at a tempo comfortable for you and focus on making the changes and not just finding a simple path through them. The work will pay off big time later on.

Here's free class with good info on Rhythm changes.

http://jazzguitar.mikesmasterclasses...video-download

Parker's version is too scary to start with.

Dexterity is another Parker tune based on Rhythm Changes. Here's Paul Chambers doing Dexterity as a comfortable tempo.

[MarkRhodes]

Jamey Aebersold's Volume 47 is all about Rhythm Changes. There are two tracks in Bb (-medium to start with and fast to build toward) and one in each of the other 11 keys. The first part of the book talks about the A sections, both as originally played (-"original rhythm") and then as bebop players played them, and gives lots of examples of various ways to play over them. (There's a section on the bridge too, of course.)

Each track in the set has a head written by Jamey Aebersold, and they tend to contain important jazz phrases, so you're learning some good "language" when learning those heads too. Also, there are practice tracks with just piano and metronome so you can work on ideas over the A section or the B section.

Jamey Aebersold Jazz: VOLUME 47 - I GOT RHYTHM - CHANGES IN ALL KEYS

[GuyBoden]

Pat Martino plays a fantastic version of Oleo using mainly a C minor vamp over the A section and then the usual bridge.

[MarkRhodes]

[QUOTE=GuyBoden;500195]Pat Martino plays a fantastic version of Oleo using mainly a C minor vamp over the A section and then the usual bridge. /QUOTE]

Nice. Is it just me or does he play the head, um, differently?

[M-ster]

Pat Martino plays a fantastic version of Oleo using mainly a C minor vamp over the A section and then the usual bridge.

Nice. Is it just me or does he play the head, um, differently?

Yeah, he does that rhythmic extension in a couple of places in the A section. The B sections are great studies of his "minorization" thing ...

[hohoho]

Frank Vignola has 3 volumes on Rhythm Changes
Frank Vignola : Mel Bay

[docbop]

Pat Martino plays a fantastic version of Oleo using mainly a C minor vamp over the A section and then the usual bridge.

Sorry slight diversion...

Watching this and thinking about Pat losing his memory then relearning everything including guitar. If anyone has compared how Pat views the guitar before the aneurysm and after. I was a GIT with Pre-Pat and was talking about symmetry in viewing the neck and his geometry, and his mirror image double neck guitar. But Post-Pat I haven't heard him talk in those kinds of terms. To me it would be a interesting comparison.

Back to Rhythm Changes an equally interesting topic.

[nosoyninja]

There's a joe diorio course with a pretty systematic approach. You can find it online in certain places. It's been out of print for ages.

K

[dingusmingus]

I've been transcribing Miles and Trane on Oleo. Very different approaches, both highly effective!

[pubylakeg]

Steve Rochinski's book "The Motivic Basis of Jazz Guitar Improvisation" (out of print) contains some very useful info on rhythm changes, and reducing the sequence down to key centres and related chord forms.

In a nutshell, he reduces the first bar of the A section ( I-vi) down to a tonic, and the second bar (ii-V) down to a subdominant (IVmaj). This application also works for the 3rd and 4th bars. (iii-vi-ii-V), and the 7th, and 8th bars (with variations)

So in the key of Bb, this is reduced down to 1 bar of Bb, 1 bar of Eb, 1 bar of Bb, 1 bar of Eb.

He then defines the 5th and 6th bars as a V-I resolution, 1 bar of Bb7, 1 bar of Eb.

There's obviously more information given in the book, for instance he points out the chromatic alteration of the Bb root of the I chord being sharpened by a semi-tone to give the third of G7b9, but essentially this is a very simple and workable approach.

I've also found this site (containing internal links) to be very useful and informative.

http://www.cs.hmc.edu/~keller/jazz/i...GotRhythm.html

[MarkRhodes]

Frank Vignola has 3 volumes on Rhythm Changes
Frank Vignola : Mel Bay

I have one of those, volume 3 IIRC, and have learned some nice things from it. One thing I love about Frank's playing / teaching is that his lines are singable, they swing, and they're very well put together.

[MarkRhodes]

Steve Rochinski's book "The Motivic Basis of Jazz Guitar Improvisation" (out of print) contains some very useful info on rhythm changes, and reducing the sequence down to key centres and related chord forms.



I've also found this site (containing internal links) to be very useful and informative.

http://www.cs.hmc.edu/~keller/jazz/improvisor/IGotRhythm.html

Very good site. Thanks. As for the Rochinski book, I had it years ago but was not ready for it, so I didn't get a lot from it. (Entirely due to my limitations.) Now that I'm ready, my copy is long gone and the book is out of print. That God that David Baker's stuff is still in print!

[MarkRhodes]

I must mention my daily bread, "Rhythm Shapes" by Herb Ellis.

http://www.amazon.com/Herb-Ellis-Jaz...+rhythm+shapes

[christianm77]

Rhythm changes! Ah where do we start? Rhythm changes is as varied as the blues.

The main thing I think to realise, is what the progression is doing. If we strip it down we get this pattern for a standard rhythm tune by removing the chords on beat 3 (which are what I think of as moving chords - often chromatic chords, usually dissonant) we get:

Bb | Cm | Dm | Cm | Bb | Eb | Bb | Cm (second and third A will have Cm | Bb for last two bars)

Functionally this is tonic--> subdominant --> tonic --> subdominant and so on. Cm is a closely related chord to Eb, and Dm is a sub for Bb major.

T | S | T | S | T | S | T | S | (2nd/3rd A | S | T |)

Linearly, it is common to hear Charlie Parker play Eb Ebm (or Cm7 Cm7b5) on Cm7 F7. There's a clear example in the melody to Moose the Mooch, for example.

As a result we have a whole range of possible substitute progressions. For example, the A section of Ain't Misbehaving (Or Mean to Me, or Bewitched) isn't often thought of as a Rhythm Tune, but the A section is functionally the same when we think of it in this light. Serpents Tooth melodically expresses Ain't Misbehaving changes on a Rhythm Tune. It's pretty clear:

Bb Bo7 | Cm7 C#o7 | Dm7 D7 | Eb Ebm6 | Dm G7 | Cm F7 | Bb G7 | Cm

The original changes for Misbehaving are more like this, BTW:
Bb G7 | Cm F7 | Bb Bb7 | Eb Ebm6 | etc

Both these progressions have the Tonic/Subdominant pattern - I'm sure you can identify and invent many more. An old school approach to this type of thing (what I call a turnaround A section) was to do this:

Bb Bb7/D | Eb Eo7 | Bb/F G7 | Cm F7 | Bb Bb7/D | Eb Eo7 | Bb/F G7 | Cm F7 |

This was common in the swing era but fell out of fashion later. Functionally it is interchangeable with a Rhythm A section.

Based on this, you can develop lines based on voice leading from tonic--> subdominant and so on using chromatic lines, for example:

Bb - Ab | G - Gb | F - E | Eb - C# | D - Db | C - B | Bb |

This line hits chord tones of the tonic and subdominant triads on beat 1 of each bar, so could be a good start point for a solo line. This type of soloing was very common in the swing era and a basic element of bebop lines.

You can then use substitute chords as material. I like this approach a lot. Here is a common cliche:

Dm G7 | Cm F7 | Dm G7 | Cm F7 | Fm Bb7 | Eb Ebm | Dm G7 | Cm F7

Ultimately, there's an awful lot to be said for keeping it pretty simple, especially when soloing. The Omnibook often suggest this progression, and listening to Bird, it often sounds that he was really thinking of this simple underlying progression:

| Bb | Cm F7 | Bb | Cm F7 | Bb7 | Eb7 | Bb | Cm F7 |

(For our purposes we can ignore the Cm, of F7 is we prefer.)

Now, if you want to move away from this kind of harmonic, functional approach, you can simply recognise (as someone has mentioned here) that the A section of Rhythm tunes are simply a way of dressing up a static key centre - Bb in this case. Therefore, you can open it out and become much more modal (Pat Martino above opts for using a subdominant chord Cm - for more tension, but the idea is similar.)

Finally, I see the progression as basically a 12-bar blues progression compressed into 8 bars. There are no progressions in the tune which you don't find in a blues. You can also insert turnarounds into a blues:

e.g.
| Bb Bb7 | Eb Eo7 | Bb C7 | Fm Bb7 | for the first four.

Parker used the relative minor for Blues for Alice (here transposed into Bb)

| Bb | Am7b5 D7 | Gm C7 | Fm Bb7 |

Again T | S | T (as Am7b5 is the same as Cm6)

Well, I've mostly concentrated on swing and bebop language for a few years. I have learned a tremendous amount not just from solos but also bebop heads.

Hope that helps you in your quest for improvisational ideas!

[Moonray]

I don't know if it has already been mentioned but Mike's Masterclasses [a great resource]
are offering a free, full length download lesson on rhythm changes by Jamie Taylor.

Jamie is a fine guitarist with excellent playing abilities and the all-important gift of being able to describe
and demonstrate what he's doing.

The lessons are normally purchased as a download and each of the artists on Mike's roster create their
own class and do the production themselves.

This free download is a part of an introductory subscription drive.....no purchase required...just sign up
to Mike's newsletter. Jamie is forgoing his recompense to further the cause.
.....I got so much from this class that I went ahead and bought Jamie's comping class pt 2. [also good value]

http://jazzguitar.mikesmasterclasses...video-download

[Reg]

A simple non technical approach to creating different approaches to playing with, over, under, through... how ever you choose to describe... changes, rhythm versions and chord patters...

So any II V can have 3 different tonal references...

Say C-7 to F7... from rhythm changes.

So you can use as your tonal center or target tonal center... what your using or hearing for what your playing to related to... Right...
1) C-7... you can use Cmin as your basic reference, and create relationship from the C-7, you can play chord tones, arpeggions etc... and apply different approaches to C-, pentatonic min style with any type of embellishments you want, the rock blues style Ab to A and Eb to E or C Eb F Gb F Eb... or

Play Eb Lydian, the relative Maj of Dorian or think functional. or ?

2) then do the same thing with F7 as your tonal target, different set of applications of relationships but same concept of using tonal target...and then.

3) use the implied I chord, Eb maj or dominant, what or how ever you choose, again your creating relationships and developing them with Eb maj or Dom as your tonal target.

Tonal targets become I chords, tonal centers.

Of course this simple approach can be applied to any chord... (or chord pattern), of the rhythm changes.... At first might be complicated but very quickly becomes instinctive and easy to hear.

[christianm77]

A simple non technical approach to creating different approaches to playing with, over, under, through... how ever you choose to describe... changes, rhythm versions and chord patters...

So any II V can have 3 different tonal references...

Say C-7 to F7... from rhythm changes.

So you can use as your tonal center or target tonal center... what your using or hearing for what your playing to related to... Right...
1) C-7... you can use Cmin as your basic reference, and create relationship from the C-7, you can play chord tones, arpeggions etc... and apply different approaches to C-, pentatonic min style with any type of embellishments you want, the rock blues style Ab to A and Eb to E or C Eb F Gb F Eb... or

Play Eb Lydian, the relative Maj of Dorian or think functional. or ?

2) then do the same thing with F7 as your tonal target, different set of applications of relationships but same concept of using tonal target...and then.

3) use the implied I chord, Eb maj or dominant, what or how ever you choose, again your creating relationships and developing them with Eb maj or Dom as your tonal target.

Tonal targets become I chords, tonal centers.

Of course this simple approach can be applied to any chord... (or chord pattern), of the rhythm changes.... At first might be complicated but very quickly becomes instinctive and easy to hear.

That sounds very interesting, but not sure if I follow you, could you give some more explanation/examples? Cheers!

[Reg]

Take any chord... that chord becomes the tonal center, the tonal target. Pretty simple with 1 chord, not a whole lot of choices.

Make the chord C-7, now you can solo over C-7 using any approach you choose. Chord tones, melodic development... modal interchange between all the different minor scales, use blue notes, use relative or parallel relationships... millions of choices, the better performer you are... the better you sound etc...

Now use Chord Pattern concept.... II-7 V7's can be a chord pattern... thought of and heard as basically one reference, I VI II V's... III VI II V's basically any short chord progression from jazz standards can become a chord pattern... the progression is heard and used like one tonal reference... almost like one chord. Maybe pedal tone or pedal chord concepts work for you.

So just as you can approach the original example of C-7 with different improv techniques, styles... whatever you choose.
The same concept can be applied to chord progressions when organized as a Chord Pattern, and with Chord patterns you have choices as to which chord you want to be the Tonal Target. And yes there are skills and basic guidelines so you don't sound like s***. But as with all performance, you'll develop your personal style from the application and concept.

[henryrobinett]

I've been transcribing Miles and Trane on Oleo. Very different approaches, both highly

Don't forget Red Garlands solo. I do these with my students. And the version with Miles and Rollins, which I think is classic.

[henryrobinett]

I think it sounds best to solo on the actual chord changes. Bb - G7 ii - V - I (or iii) - V -ii -V -I7 : I ( or ii -V -I in Eb) etc. I live playing if like this and not simplifying. It just sound better sailing through those changes, hitting the 3rds and 7ths.

[christianm77]

Take any chord... that chord becomes the tonal center, the tonal target. Pretty simple with 1 chord, not a whole lot of choices.

Make the chord C-7, now you can solo over C-7 using any approach you choose. Chord tones, melodic development... modal interchange between all the different minor scales, use blue notes, use relative or parallel relationships... millions of choices, the better performer you are... the better you sound etc...

Now use Chord Pattern concept.... II-7 V7's can be a chord pattern... thought of and heard as basically one reference, I VI II V's... III VI II V's basically any short chord progression from jazz standards can become a chord pattern... the progression is heard and used like one tonal reference... almost like one chord. Maybe pedal tone or pedal chord concepts work for you.

So just as you can approach the original example of C-7 with different improv techniques, styles... whatever you choose.
The same concept can be applied to chord progressions when organized as a Chord Pattern, and with Chord patterns you have choices as to which chord you want to be the Tonal Target. And yes there are skills and basic guidelines so you don't sound like s***. But as with all performance, you'll develop your personal style from the application and concept.

If I understood you right, this is essentially outlining a different harmony over the underlying harmony.

As the A of rhythm changes is a decoration of a tonal centre (your not changing key), this should work fine provided you keep track of the form, errr... and play compelling musical phrases that you actually hear (see above.)

I mean really you can start with the 8,000,000 variations of Rhythm changes already in play - here is one of the more outre, usually attributed to Monk (but I reckon Art Tatum invented it):

F#7 B7 E7 A7 D7 G7 C7 F7 Bb Bo7 Cm7 F7 for the A section.

Later on Benny Golson sideslips, Coltrane Cycles, anything else your fevered brain can conceive of can all be used.

But that's just going to Bb. So you could use the subdominant (Eb or Cm, say) instead.

A lot of guys just stay on the dominant and alter it. That's a common technique with the guys who want to sound contemporary.

Is this what you mean?

[nick1994]

Don't forget Red Garlands solo. I do these with my students. And the version with Miles and Rollins, which I think is classic.

do you mean the one from bags groove? sonny's solo off oleo is one of my favourite sax solos