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Rhythm Changes?
- Thread starter JetJazz
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Ummm... no. Here's a more accurate and detailed description of Rhythm Changes:
http://people.uncw.edu/russellr/rhythm.html
There's a lot you can do in the B section. It's really like the 12-bar blues progression: there are many variations and reharms.
http://people.uncw.edu/russellr/rhythm.html
There's a lot you can do in the B section. It's really like the 12-bar blues progression: there are many variations and reharms.
- Apr 1, 2000
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- Endorsing Artist: Roscoe Guitars, DR Strings, Aguilar Amplification
geoffkhan said:
There's a lot you can do with the A section, too. Rhythm changes is like Bach: you can spend an awful long time with them before you get to the music.
Pacman said:
Yeah, I can see that, too. There's a lot of cool pedal tone stuff that can happen in the A section.
The most commonly-used variation (or rather embellishment) of the B section I've heard is this: (pretty basic, just a bunch of II Vs)
Am7 \ \ \ | D7 \ \ \ | Dm7 \ \ \ | G7 \ \ \ |
Gm7 \ \ \ | C7 \ \ \ | Cm7 \ \ \ | F7 \ \ \ ||
That website that I posted has a lot of good ideas on it. Just check that out rather than reading my puny ideas.
My book, The Chordal Approach has a very detailed look into Rhythm Changes and it's reharms - all played in a chord melody style on bass - check it out
- Apr 1, 2000
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My favorite B section variation would be:
D7/D7/Db7/Db7/C7/C7/B7/B7
You gotta love tritone subs....
D7/D7/Db7/Db7/C7/C7/B7/B7
You gotta love tritone subs....
Pacman said:
Hahah, yes. Bassists love that chromatic movement. But (as a keyboardist) unfortunately I find it cliched and boring, sorry to say.
I somewhat feel comfortable with this because of my drumming background...hint hint, pay attention to your drummer.
- Apr 1, 2000
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geoffkhan said:
Funny - I work with three of the most brilliant pianists I've ever met, and they love it.
Lynn Seaton said that if something's boring - it's probably you.
- Apr 1, 2000
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The two most important notes of a chord are the 3rd and the 7th. In a dominant chord, they form a tritone. Now, let's use a C7 chord - the 3rd and 7th are the E and Bb, right? Let's look at an F#7 (or Gb7), which is a tritone away. What are the 3rd and 7th? A# (or Bb) and E. In both chords, the 3rd and 7th want to resolve to the same notes, so the chords can substitue for one another.
Clear, or muddy?
Clear, or muddy?
Pacman said:
Ummm, *looks into coffee*, clear as mud to me. Would you care to elaborate? I'd really like to understand what you're trying to say here.
- Dec 13, 1999
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- Chuck Sher publishes my book, WALKING BASSICS:The Fundamentals of Jazz Bass Playing.
Mike Dimin said:
I'd suggestion checking out Mike's book. I'm working on this particular section right now and trying to revoice it for six string bass.
Pacman said:
Well, yes, maybe it's just me. A better word would be "unimaginative" rather than "boring." It's just chromatic movement -- down a half-step every two bars. I mean, maybe you could use that as a sort of starting point.
So instead of:
D7/D7/Db7/Db7/C7/C7/B7/B7
Embellish it and go:
Am7 | D7 | Dbm7 | Abm7 Db7 | Gbmaj7 | Db7 | Ebmaj7 | B13(#11)
Now wasn't that so much more fun?
- Apr 1, 2000
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- Endorsing Artist: Roscoe Guitars, DR Strings, Aguilar Amplification
If you do that without thought, it's just as unimaginative and boring as if you do the chromatic movement. I'm a little curious as how you arived at that progression for a Rhythm Changes bridge - functionally, it's all wrong. Want to 'show your math' on that one?
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