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.
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 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.
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. In my lesson on soloing over a blues 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: Arpeggios and Scale charts
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!
So now that we have some scales and arpeggios to use on our progression we can start looking at some of the lines you can make with that.
A Rhythm changes solo
In the video I play the solo that is written out in example 5. This is an improvistaion on the first 2 A’s in a rhythm changes form. As I explain in the video I had first written an example, but later decided that it would be better and more realistic if I improvised one and transcribed it, which is what I then did, and what you see under this.
The lines are for the most part using the arpeggios and a few times also using some of the scale notes as diatonic passing notes. For the first 2 bar phrase I am using the motif of a third, on the Bb, the major 3rd and the root and on developing this on the F7 using first the 5th and 3rd and then later the root. The line then continues to use the root and 7th to create some tension that is resolved to the 3rd(D) of Bb on the 4 and.
The same idea of introducing a motif on the Bb and resolving it on the F7 is used in the next two bars, again using Bb and D over the Bb chord and then using the root and 3rd on the F7. The character of the melodies that I make has more of an emphasis on rhythm, which is natural since we don’t have too many extensions or alterations to use.
In bar 5 and 6 the introduction of the Ab on the Bb7 makes it easy to hear that chord, and just making lines with the arpeggio of this chord in this context gives it a nice bluesy flavour. The line on the Ebmaj7 is simply the arpeggio played descending from the root to the 3rd.
The last two bars for the first A are first a Bbmaj7 arpeggio played as a triplet, and on the F7 the line is more C minor like, since we use a G and D along with the C and Eb.
The second A has a melody for the first two bars which is almost a sort of cascading arpeggio idea. First on the Bb from the 5th to the root via the 7th and then on the F from the 5th to the root before it resolves to the low 3rd on the Bb on the 4 and.
I leave out the any further melodies on the Bb and have a syncopated melody on the F7 which also uses a D as a diatonic passing note. The melodic idea here is to se syncopation to develop tension before this is resolved on the Bb7.
THe Bb7 line is a straight arpeggio idea that emphasizes the 3rd(D) and the 7th(Ab), which signals that we are moving to the 4th degree.
The line on the Ebmaj7 is much more scale based and consists of two encircling movements, of first the F and then on the D, delaying the resolution to the D so that it is used to mark the transition to the Bb.
The final line is a riff like melodic idea just thinking Bb, In a real improvisation on a complete chorus I might add more here to lead into the Bridge, but since I don’t have a bridge in this example I mad a sort of ending phrase. If you check out especially Parker themes on rhythm changes they often have a phrase like this at the end of the 2nd and 3rd A part.
I hope that you can use the ideas and exercises from this lesson to get better at playing rhythm changes solos and feel less stressed out by the tempo.
You can of course also download a PDF of the examples and the solo here:
You can also check out the rhythm changes lesson I made what includes 2 full choruses, 1 using this approach and one chorus using more chords. It’s available here: http://jenslarsen.nl/product/rhythm-changes-solo-etude-1/
If you have any questions, comments or suggestions for topics or how I can make the lessons better then please feel free to leave on the video or send me an e-mail. That is the best way for me to improve my lessons and make thme fit what you want to hear.
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