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Discussion in 'General Instruction [BG]' started by JetJazz, Dec 26, 2004.
What is the definition of the Rhythm Changes progression?
Ummm... no. Here's a more accurate and detailed description of Rhythm Changes:
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.
See: Flintstones (meet the).
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.
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
My favorite B section variation would be:
You gotta love tritone subs....
Cool thread. *subscribes*
Thanks for the Rhythm Changes links. New stuff to practice! Yay!
I've got rhythm... I've got music...
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.
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.
Hey Pacman..can you clarify on what a tritone sub is? I've got an idea, but..
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?
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.
At the risk of seeming P/A, the flat 5 of C is going to be Gb, not F#.
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.
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:
Embellish it and go:
Am7 | D7 | Dbm7 | Abm7 Db7 | Gbmaj7 | Db7 | Ebmaj7 | B13(#11)
Now wasn't that so much more fun?
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?