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Anybody has some cheap tricks for Rhythem Changes?

Discussion in 'Music [DB]' started by PlattsADA, Aug 11, 2003.

  1. Blah!

    I hate rhythem changes...

    Give me somthing cool...
  2. SleeperMan2000


    Jul 31, 2002
    Cary NC
    I didn't know Cheap Trick did Rhythym Changes. I could help with "I Want You To Want Me" if necessary.
  3. Sam Sherry

    Sam Sherry Inadvertent Microtonalist Supporting Member

    Sep 26, 2001
    Portland, ME
    Euphonic Audio "Player"
    Time to repeat the frequent advice 'round these parts: Licks are only useful as learning devices. Don't try to force-fit little pieces of noise into music. Listen to the people you are playing with and make music with them.

    So, here's some ideas a bridge for Bb rhythm bridge which uses lots of open strings. It's a nice hand-rester at obscene tempos on Tenor Chorus No. 17. You can just "claw" that tritone down the neck or change fingers. There are innumerable variations on this theme.

    Have fun.
  4. Dude! Is your avatar a picture of you? Are you in the Orion Quintet?

    If so, I totally saw you on "Maine Performances" the other night.

  5. Sam Sherry

    Sam Sherry Inadvertent Microtonalist Supporting Member

    Sep 26, 2001
    Portland, ME
    Euphonic Audio "Player"
  6. Lovebown


    Jan 6, 2001
    There are no cheap tricks when it comes to serious jazz. The only "trick" if you'd like to call it that is that you can substitute the chords around a lot, especially in the bridge. A simple variant would be to play tritone subsitute and go down chromatically like this:

    Original: D7,G7,C7, F7
    Substitute: D7, Db7, C7, B7

    Good luck,
  7. For those that take life seriously, I'll call this trick a "harmonic alternative....)
    Starting on Gb and moving up in 4ths, 2 beats per chord.
    It will eventually dump out ok.
    Caution.... make sure the soloist and or chordal player you spring this on either owes you money or at least is the non-violent type or they might beat you down on the break.

    Less radical, is playing around with scales. (I'm pretending all the chordal guys owe me money or are at least non-violent...)
    Maybe each ii V is handled with the dorian off the ii. ie. D- G7|C- F7| is worked with D- |C- in order to move the bass roots down in whole steps (DEbFD|CDEbC|Bb...) You can work through all the posibilities.

    Disclaimer.... These types of alternatives are only to be used if they compliment the other voices in the group at the moment.
    If you choose to use such tricks (I mean alternatives) to the contrary, and your band mates complain, explain that the line compliments the voices in your head and that those voices need constant validation.