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Brad Kinder
Joined: 31 Mar 2007
Posts: 62
Location: Richmond, VA
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 Posted: Tue Jan 06, 2009 1:08 pm Post subject: |
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| I want to work up the "The Eternal Triangle" off Sonny Side Up. That's a smokin' rhythm tune with tons of melodic ideas for the taking. |
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nylenny
Joined: 31 Mar 2007
Posts: 291
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| Posted: Tue Jan 20, 2009 3:33 pm Post subject: |
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| I play Mark's "I've Got Rhythm" chord melody several times a week, but, I must admit, I do not work on soloing over rhythm changes. I suppose it makes sense to work on this progression, given the wealth of tunes on which it is based. Why is this progression so important to know? Is it because of all the standards that are based on it and its popularity?? |
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Mark
VM Coach
Joined: 26 Feb 2007
Posts: 479
Location: Portland, OR
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| Posted: Tue Jan 20, 2009 6:37 pm Post subject: Re: Benefits of Rhythm Changes |
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| nylenny wrote: | | I play Mark's "I've Got Rhythm" chord melody several times a week, but, I must admit, I do not work on soloing over rhythm changes. I suppose it makes sense to work on this progression, given the wealth of tunes on which it is based. Why is this progression so important to know? Is it because of all the standards that are based on it and its popularity?? |
Len,
I mentioned up front in this topic the fact that RC reinforces the AABA structure so common to ballad, swing, bebop, and latin standards. That's one hidden benefit. You are also correct in concluding that there are many melodies (heads) that use this progression, so in that sense RC is almost like blues changes in that as you become more proficient at "Anthropology" (Bird), you automatically become more proficient at "Oleo" (Rollins) or any of the other tunes that use the same format, progression and key (usually Bb). Other standards, like "Take the A Train" and "Satin Doll" to name just two, use proprietary progressions that only relate to those particular tunes.
As a jazz improv vehicle, 75% of each RC "A" section focuses on the critical turnaround to I formula and its derivatives, and since 75% of the 32 bars is devoted to that section, it becomes an outstanding way to develop your skill at handling turnarounds. The resulting knowledge and associated language can immediately be applied to countless other standards.
Then there's the bridge changes, typically either four chords at two bars each (D7, G7, C7, F7) or eight chords using IIm7 subs (e.g. Am7-D7, Dm7-G7, Gm7-C7, Cm7-F7), or combinations of both. The rhythm bridge opens the door for playing extended lines over dominants or long II-V's, and the 8-bar progression is frequently used as the bridge in other compositions with different "A" sections.
As you can hopefully see, there's a lot to be gleaned from making Rhythm Changes an integral part of your jazz improv evolution. Til next time...
- Mark
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"Anyone can make the simple complicated. Creativity is making the complicated simple" - Mingus |
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nylenny
Joined: 31 Mar 2007
Posts: 291
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| Posted: Tue Jan 20, 2009 7:32 pm Post subject: |
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| Thanks Mark. I hadn't reallly thought of Rhythm Changes as a vehicle for turnarounds, but now that you mention it, it clearly is. I'll have to start working on it more diligently. |
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Mark
VM Coach
Joined: 26 Feb 2007
Posts: 479
Location: Portland, OR
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| Posted: Tue Jan 20, 2009 8:47 pm Post subject: |
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| nylenny wrote: | | Thanks Mark. I hadn't reallly thought of Rhythm Changes as a vehicle for turnarounds, but now that you mention it, it clearly is. I'll have to start working on it more diligently. |
Len,
My pleasure. Focusing on RC over the years has really improved my skill in handling turnarounds, but I forgot to mention one other thing. Bars 5 & 6 of every "A" section relate directly to swing blues, either in its most basic state (Bb7 to Eb7) or via various subs (e.g. Fm7-Bb7 to Eb7-Edim7). So you can mix 'n match maj/dom/min blues licks, change run using short II-V's, or any combination you like. Just another indirect benefit of RC that relates to a well-known improvising scenario.
- Mark
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"Anyone can make the simple complicated. Creativity is making the complicated simple" - Mingus |
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kbgtr001
Joined: 04 May 2007
Posts: 122
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| Posted: Tue Jul 28, 2009 7:39 am Post subject: Walking Bass Lines: "Rhythm Changes" |
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Bassist Bill Harrison demonstrates how to walk through chord changes based on "I Got Rhythm"
http://www.youtube.com/watch?v=693zGPGhpjc
Nice lesson.
-Kb |
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Mark
VM Coach
Joined: 26 Feb 2007
Posts: 479
Location: Portland, OR
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| Posted: Sat Aug 01, 2009 4:44 am Post subject: Re: Walking Bass Lines: "Rhythm Changes" |
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| kbgtr001 wrote: | | Nice lesson. |
Kb,
Agreed, although I wish he would have at least touched bass (so to speak  ) on some bridge subs for the basic four chords. He did discuss the IIIm7 (Dm7) sub for the I chord in the A section, but the RC bridge really opens up harmonically for walking and improvising once you get beyond the fundamental harmony. All for now...
- Mark
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"Anyone can make the simple complicated. Creativity is making the complicated simple" - Mingus |
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bassman
Joined: 05 Dec 2009
Posts: 3
Location: Tampa, Florida
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| Posted: Thu Dec 17, 2009 2:14 am Post subject: rhythm changes |
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Hi Mark:
Finally got around to starting your LBM and am looking forward to teh next lesson.
I work on RC several times a week...I used the Frank Vignola Series for model solos and can now mix and match the phrases I've learned tp RC based tunes and creating new lines by changing up the phrasing...
Any chance you would expand LBM to include some RC charts/lessons? 
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Use tact, poise and reason ...and gently sqeeze them - Don Fagen |
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Mark
VM Coach
Joined: 26 Feb 2007
Posts: 479
Location: Portland, OR
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| Posted: Thu Dec 17, 2009 3:24 am Post subject: Re: rhythm changes |
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| bassman wrote: | I work on RC several times a week...I used the Frank Vignola Series for model solos and can now mix and match the phrases I've learned tp RC based tunes and creating new lines by changing up the phrasing...
Any chance you would expand LBM to include some RC charts/lessons? |
Bassman,
Yes, I have many lessons dealing with RC, but for guitarists they exist in the unadvertised sequels to the Swing Blues: Doorway to Jazz wing of the program. The SB course is rich in core jazz language, like long and short II-V's and essential turnaround formulas. It's almost everything you need to know to effectively improvise over RC. After all, 75% of the progression is devoted to the "A" sections, and 75% of those 8-bar sequences are built around the turnaround to one. The other two bars (5-6) represent classic blues movement (I-IV). The "B" section bridge can be handled exclusively with long II-V clichés.
There's a reason for the "Doorway to Jazz" subtitle of the course. Once swing blues is mastered the rest is a piece of cake, but certainly continue working on RC in the interim and forward any questions my way. One of my favorite subjects. All for now...
- Mark
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"Anyone can make the simple complicated. Creativity is making the complicated simple" - Mingus |
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Larry_DC
Joined: 31 Mar 2007
Posts: 207
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| Posted: Fri Dec 18, 2009 9:10 pm Post subject: |
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| The combination of RC model solos and the bass course inspired me to arrange a finger style version with walking bass from beginning to end. Sure, the head is easy because of the relatively few notes, but with the bass line and combination head/chord punches it is a lot of fun to play. Mark liked it, too! |
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Mark
VM Coach
Joined: 26 Feb 2007
Posts: 479
Location: Portland, OR
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| Posted: Fri Dec 18, 2009 10:23 pm Post subject: RC Model Solos |
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Jazz Guys,
Speaking of model solos for this progression, I should point out that doing so not only improves your ability to navigate the changes, but also leads to original compositions (a la Bird). I've written roughly 8-9 RC originals to date. Have We Met? is one of the more recent compositions that many of my students have heard, recorded as a guitar/bass duo. It was composed on bass and ported over to guitar. "Fake" rhythm bridge (no melody).
The upper-string RC chord solo that Len referred to in an earlier post was also recently recorded as Four String Fever. You'll recognize the similarity between these two takes in the bridge voicings. That chord solo is taught in one of the unadvertised sequel courses that I had mentioned before.
- Mark
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"Anyone can make the simple complicated. Creativity is making the complicated simple" - Mingus |
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kbgtr001
Joined: 04 May 2007
Posts: 122
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| Posted: Sat Dec 19, 2009 4:13 am Post subject: |
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| Mark wrote: | | Speaking of model solos for this progression, I should point out that doing so not only improves your ability to navigate the changes, but also leads to original compositions (a la Bird). |
Here is a 'model chord solo' I've created in my course work with Mark.
The "Flintstones Theme" on the A section of "Rhythm Changes."
I've had really interesting email discussions with Mark about 'RC'
and worked through my model solo with trial and error and a
little transcribing on some RC audio files. Still needs work, but i like where
it is for the moment.
-Kb
ed note: I think I prefer a 1st position Bb_Ma7 chord in bar 7 rather than
the D_min and a 2nd inver G_min (voiced D G Bb = Bb6) in bar 15 rather
than the 1 st inver Bb chord. I will make the changes and repost.
reposted 09_1219
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