In this series I am going to start working on some approaches for improvising over Rhythm Changes. In this first lesson we are going to keep it very basic and lay a foundation that can be expanded in later lessons and also help you deal with this many chords in a high tempo. Rhythm Changes The rhythm changes progression is infact the chords of the Gerschwin standard “I got rhythm”. SInce the late swing era it has been used as a chord progression that a lot of new melodies have been written on. It has almost the same status as the 12 bar blues as a form and language that one has to master as a Jazz Player. Rhythm changes is a 32 bar AABA form where each part is 8 bars.

The bridge is a chain of dominants leading back to the tonic, and the A part is a series of turnarounds and a short visit to the 4th degree. In this lesson I am only going to work on the A part, and especially show how to deal with the many chords while soloing and still be able to make some music. You probably know the A part as this progression. The Trick The key to negotiating this many chords in a high tempo is to simplify the progression so that only the essential chord movements remain. In this case that means that I VI becomes just I and II V becomes just V. If you think this you are still playing the basic harmonic movement of the song and you have a bit more space to breathe while doing so. The reduced progression would look like this.

Published by Howard Rees's Jazz Workshop Productions and available. Pozdraviteljnie konverti s dnem rozhdeniya dlya deneg raspechatatj. I also downloaded Rick Stone's pdf files dealing with Barry's method. The Barry Harris. The more I learn about Barry Harris' jazz theory system the more interesting it becomes. Some thoughts after watching Barry Harris' Workshop videos Vols. I and II: They're hours of video featuring Barry Harris a pianist who was 'there' in bebop from the beginning.

As you can see I already added the arpeggios in the example. All arpeggios are in the 6th position which is a good place to start for a Bb rhythm change in terms of having fairly simple arpeggio and scale fingerings. The idea of simplifying the progression is not new, I have heard this from several teacher one of them being Barry Harris, and if you check out descriptions of Parker you will find examples of him doing exactly that while playing on this type of progression. To practice the arpeggios and make sure that you really know them in and out, I suggest you try to play them over the progression as I’ve written out in example 2 above here, but also that you work on connecting them in the way I’ve written out in Example 3. The idea is that you startthe 1st arpeggio and when you played a bar of 8th notes you change to the note in the next arpeggio that is the closest to the one you are one now. This way you not only practice the arpeggios, but also how to think ahead and have an overview of how the next arpeggio looks before you play it. Adding the rest of the scale Since the Bbmaj7 and the F7 arpeggios have two common notes (F and A) it is a bit difficult more difficult to improvise clearly through the progression only using the arpeggios, because it is harder to pick a note to play that makes it easy to hear the chord change.

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In my lesson on the difference between the chords is bigger and this is a lot easier. That said it is still worth while to do this and work on it since it is going to develop you ability to make clear melodies in situations like that with diatonic harmony, and most tunes are tonal so this applies to most songs. I give an example of a solo only using arpeggios in the video. To make this a bit simpler I chose to here alos add the rest of the scale, so that we have seven notes to use instead of just the four notes of the arpeggios. Since this lesson is on rhythm changes which is a bit more complex progression than a 12 bar blues I assume that you already know the scales and the basic arpeggios, otherwise you can check out and download charts here: One way to practice the scales on the progression is to play them from root to seventh for each chord, that fits nicely in the bar and makes it easy to turn our simplified progression into a scale exercise. This is by the way an approach that I learned from American Jazz Pianist Barry Harris, you should check him out! His workshops are very good and he is the real deal when it comes to bebop!