RhythmChanges

FromFundamentalsofJazzImprovisation:WhatEverybodyThinksYouAlreadyKnow

Dr.MarkWatkins

DirectorofJazzStudiesBrighamYoungUniversity–Idaho

©2010byMarkWatkinsMaterialshereinareprovidedforpersonaluse.Nopartmaybereproduced

withoutwrittenpermissionfromtheauthor.

OriginalRhythmMusicianscompositingandperforminginjazz,musicaltheater,R&B,pop,andotheridiomswereinfluencebyGershwin’stuneIGotRhythm.However,itshouldbenotedthattheI(oriii),vi,ii,V,IcommontotheAsectionsofrhythmtunesandthedominantcycleofthebridgeareprogressionsasoldastheadventofourdiatonicsystem.Regardlessoftheinfluence,RhythmChangesareacommoncontrafactinjazz.(Acontrafactisanewmelodywrittenonapre‐existingchordprogression.Sincechordprogressionscannotbecopyrighted,performersoftenwritenewmelodiesoverprogressionsonwhichtheyenjoyimprovising.)TuneswrittenoverRhythmChangesareverycommon;theywereespeciallysointheSwingandBeboperas.CharlieParkerhasstatedthatlearningblues,rhythmchanges,andCherokeein12keyswellprepareoneforalmostanything.OriginalRhythmisa32barform,AABA.Fundamentally,atwobarIvi|iiVsequenceplayedfourtimesconstitutestheAsections.Bars5‐6inGershwin’stuneareII7|IViv.Thissetofchords,withGershwin’s5thand6thbarsarethefoundationforsucceedingcontrafacts.Asection:

Thebsectionorbridgeisadominantsequencestartingonthemediantcyclingeverytwobars.Bsection:

Gershwin’stunecarriesatwobarextensionnotoftenplayedwithRhythmChangescontrafacts.

OriginalRhythm:IGotRhythm(GeorgeGershwin)

OptionsOneoftheadvantagestoRhythmChangesisitsflexibility,similartotheblues.Possibilitiesareextensive.Optionsforbars1‐2canbepairedwithbars3‐4options,likewisewithbar5,6,and7‐8.Allexampleswithmajor7chordscouldusemajor6chordsandviceversa.Oneortheotherisusuallyusedconsistentlythroughouttheprogression.Set1:mm.1‐2options:FundamentalIviiiV

MinorvichangedtoVI7

VIandValtered

VI,V,andIIalteredtocreateacycleofdominants

DiminishedpassingchordssubstitutedforviandVtocreateachromaticbassline

TheaboveprogressionisusuallyfollowedbyiiisubstituteforIinbar3,thuscompletingthebassline.

Set2:mm.3‐4options:FundamentalIviiiV

MinorvichangedtoVI7

iiisubstitutedforI,creatingacycleofiiVs

Dominantsaltered

Set3:m.5options:FundamentalmajorIfollowedbyI7

MinorvsubstitutingforI,creatingaiiV(bluessoundonm.5)

I7substitutingformajorI(bluessoundonm.5)

Set4:m.6options:FundamentalIVVII7,resolvescommonlytoI(TheIVVIIIprogressionisfrequentinmanytunes.MovingtoIVinm.6isreminiscentoftheItoIVprogressionfoundintheblues.)

IV7substitutingformajorIV,creatingcyclemotion

MinorivonbeatthreesubstitutesforVII7,IVismajor

samesubstitutionwithIV7substitutingformajorIV

Raised4throotonbeat3,createsachromaticrootprogression;whenothernotes(3,5,7)remainconstantthroughthemeasureadiminishedchordresults.

Set5:mm.7‐8options:Tonic6/4(B‐flatoverF)completeseitheradescendingorascendingbasslinedependingontheprecedingchords

SameprinciplewithiiisubstitutingforI

Possiblebassline1,descending:(Inversionsarenotusuallyindicatingasbelow.)

Possiblebassline2,ascending:(Likewise,inversionsnotalwaysgiven.)

FundamentalIviiiVreturntotopofAsection

iiimaybesubstitutedforIinallmm.7‐8examples

VI7substitutesforvi

iiisubstitutesforI,creatingacycleofiiVs

Dominantsaltered

II7substitutesforii,creatingacycleofdominants

Tonic6/4,V7Icanconclude1stor2ndAsection

iiV7Icanconclude1stor2ndAsection

Set6:mm.15‐16options:m.16ormm.15‐16usuallyendontonic.Thisfinalcadencehelpsconclude2ndAsectionmelodicmaterialandfacilitatesacolorfulchromaticmediantcontrasttothebridge.Asabove,tonic6/4,V7Icanconclude1stor2ndAsection

Asabove,iiV7Icanconclude1stor2ndAsection

Tonicisoftenheldforbothmm.15and16

AllexamplesofBsection(bridge)harmonicsequencescanutilizealtereddominants.

Bridge1:Fundamentalcycleofdominantharmoniesstartingonthechromaticmediant(dominantchordbuilton3rdscaledegreeoftonic)

Bridge2:iiV7substitutedforV7

Bridge3:iiV7substitutedforV7inmm.17‐18and21‐22,creatingasequenceofiiV7Isinmm.17‐20and21‐24

Bridge4:Tritonesubstitutionsinmm.19‐20and23‐24createadescendingchromaticsequence

ThelastAsectionofRhythmChangesisusuallyidenticaltothe1stAsection.Finalchorusesoftenusethe2ndAsectiontoend.Thefollowinggriddemonstratesthepossibilitiesoftheaboveexamples,whicharenotallinclusive;manymorepossibilitiesexist.PracticallyanygroupfromSet1canbecombinedwithanygroupfromSet2.AnygroupfromSet2canbecombinedwithanygroupfromSet3,Set3to4,and4to5.FirstAsection: Set1:mm.1‐2 Set2:mm.3‐4 Set3:m.5 Set4:m.6 Set5:mm.7‐81 2 3 4 5 6 7 SecondAsection: Set1:mm.1‐2 Set2:mm.3‐4 Set3:m.5 Set4:m.6 Set5:mm.7‐81 2 3 4 5

AnyBridgesetcanbecombinedwithanyAsection.Bridge:

LastAsection:SameasFirstAsectionwhenrepeatingtotopofform.SameasSecondAsectionwhenending.

ExamplesOriginalRhythm:IGotRhythm(GeorgeGershwin)Swing:LesterLeapsIn(LesterYoung)Swing:Cottontail[progression1](DukeEllington)Swing:Cottontail[progression2](DukeEllington)Bebop:Anthropology(CharlieParker)Bebop:Wee/Allen’sAlley(DenzilBest)SongBook:BlueMoon(RichardRodgersandLorenzHart)HardBop:Oleo[progression1](SonnyRollins)HardBop:Oleo[progression2](SonnyRollins)HardBop:TheTheme(MilesDavis)Hardbop/Contemporary:TheEternalTriangle(SonnyStitt)Contemporary:ThirdRail(MichaelBrecker)

OriginalRhythm:IGotRhythm(GeorgeGershwin)

Swing:Cottontail[progression1](DukeEllington)

Swing:Cottontail[progression2](DukeEllington)

Swing:LesterleapsIn(LesterYoung)

Bebop:Anthropology(CharlieParker)

Bebop:Wee/Allen’sAlley(DenzilBest)

SongBook:BlueMoon(RichardRodgersandLorenzHart)

HardBop:Oleo[progression1](SonnyRollins)

HardBop:Oleo[progression2](SonnyRollins)

HardBop:TheTheme(MilesDavis)

HardBop/Contemporary:TheEternalTriangle(SonnyStitt)

Contemporary:ThirdRail(MichaelBrecker)

ImprovisingonRhythmChangesTherearetwocontrastingwaystoimproviseontheAsectionsofRhythmChanges:changerunningandblanketing.Thesewaysareoftencombinedinasingleimprovisedsolo.Thebridgecanbeplayeddiatonicallybutlendsitselftoalterations.ChangeRunning1. Patternsstandardtoone‐measureiiVprogressionsworkwellwhenthevichordismadeVI7

thusformingaiiiVI7iiV7cycle(cycleofiiV7s:D‐G7|C‐F7).iiV7CycleExample1:

iiV7CycleExample2:

2. Onecangivetheimpressionofchordspecificitybyemphasizingthenotesthataremost

different.AlleightmeasurescanalternatebetweenDandE‐flatasguidetones.

BlanketingTherearetwowaystothinkaboutblanketing:alleightbarsoftheAsectionorinvariousparts,asbelow.

Example1:Blanketingalleightwithmajororpentatonics.

Example2:Blanketingalleightwithblues.

Example3:Split,fourbarsofMajor,fourbarsofBlues.

CombinationsExample1:Blanketing,changerunninginto2ndA.

Example2:Blanketing,changerunningintom.5.

Example3:ChangeRunning2ndA,mm.1‐2overJazzRhythm,Blanketingmm.3‐4,Runningm.6

intotonicB‐flatbeforebridge.

BridgeBlanketingisgenerallynotappropriateforthebridgeofRhythmChanges,althoughsomeexamplesdoexist.Oneshouldimproviseinachordspecificmanner.Simplemixolydianscaleswork,asdoalteredchords/scales.Alteredscalescanbesuccessfulwhetherornottheharmonyincludesthem.Thefollowingchartshowsafewpossibilities:

RhythmChangesBridgeToneColorChoices

RhythmChangesTuneList

RhythmTunes RhythmTunes(cont.)OneBassHit(DizzyGillespie)Opp‐Bop‐Sha‐Bam(DizzyGillespie)OscarforTreadwell,An(DizzyGillespie)Ow(CharlieGreenlea)Passport(CharlieParker)PogoStickBounce(EdenAhbez)RaidtheJoint(ErskineHawkins)RedCross(CharlieParker)RhythminaRiff(BillyEckstine)RhythmSam(NatKingCole)Rhythm‐a‐ning(TheloniusMonk)SaltPeanuts(DizzyGillespie)SevenComeEleven(CharlieChristian)Shag(SidneyBechet)Shaw‘Nuff(DizzyGillespie)ShooShooBaby(PhilMoore)SolidPotatoSalad(DePaul/Prince/Raye)Sonnyside(SonnyStitt)SquattyRoo(JohnnyHodges)StayOnIt(TaddDameron)Steeplechase(CharlieParker)StraightenUpandFlyRight(NatKingCole)StreetBeat,The(C.Thompson/Robert

Mellin)StrictlyConfidential(BudPowell)SwedishSchnapps(CharlieShavers)SwingSpring(J.J.Johnson)Swingin'withDiane(ArtPepper)Syntax(J.J.Johnson)Ta‐de‐ah(NatKingCole)Theme,The(MilesDavis)ThrivingfromaRiff/Anthropology(Charlie

Parker)Tiptoe(ThadJones)Turnpike(J.J.Johnson)Wail(BudPowell)WebbCity(BudPowell)Wee/Allen'sAlley(DizzyGillespie)Who'sWho(ArtFarmer)WireBrushStomp(GeneKrupa)XYZ(BuddJohnson)YeahMan(J.RusselRobinson)

AlteredRhythmChanges

52ndStreetTheme(TheloniusMonk)Ah‐Leu‐Cha(MilesDavis)Almost(DavidBaker)Anthropology/Thrivin'FromaRiff(Charlie

Parker/DizzyGillespie)AppleHoney(WoodyHerman)BopKick(NatKingCole)Boppin'aRiff(SonnyStitt)BrownGold(ArtPepper)Bud'sBubble(BudPowell)CallthePolice(NatKingCole)CallingDr.Jazz(Eddie"Lockjaw"Davis)Celerity(CharlieParker)ChantoftheGroove(ColemanHawkins)Chasin'theBird(CharlieParker)Cheers(CharlieParker)Constellation(CharlieParker)CoolieRini(HowardMcGhee)Coppin'theBop(J.J.Johnson)Cottontail(DukeEllington)Delerium(TaddDameron)Dexter'sDeck(DexterGordon)Dexterity(CharlieParker)Don'tBeThatWay(EdgarSampson)Dorothy(HowardMcGhee)Dot’sGroovy(JackMontrose)DownfortheDouble(FreddieGreen)Duel,The(DexterGordon)EbPob(FatsNavarro/LeoParker)Everything’sCool(BudPowell)FatGirl(FatsNavarro)FatherStepsIn(Dixon/Randall/Hines/Fox)Flintstones,The(HoytCurtain)FoxHunt(J.J.Johnson)Goin’toMinton’s(FatsNavarro)GoodQueenBess(DukeEllington)GoofandI,The(AlCohn)Hamp'sPaws(HamptonHawes)HarlemSwing(NatKingCole)Hollerin'andScreamin'(EddieDavis)IGotRhythm(GeorgeGershwin)I'manErrandBoyforRhythm(NatKingCole)InWalkedHorace(J.J.Johnson)JayJay(J.J.Johnson)Jaybird(J.J.Johnson)JeepisJumpin',The(DukeEllington)JugHandle(GeneAmmons)Juggernaut(GeneAmmons)Juggin'Around(FrankFoster)Jumpin'attheWoodside(CountBasie)LemonDrop(GeorgeWallington)LesterLeapsIn(LesterYoung)LilaMae(NatKingCole)LittleManontheWhiteKeys,The(NatCole)LoveYouMadly(DukeEllington)MissThing(CountBasie)MoodySpeaks(JamesMoody/DaveBurns)Moody'sGotRhythm(JamesMoody)MoosetheMooche(CharlieParker)Mop,Mop(Gaillard/Stewert/Tatum)Newk'sFadeway(SonnyRollins)NoMoe(differentbridge)(SonnyRollins)NorthwestPassage(Herman/Jackson/Burns)OGoMo(SonnyRollins)Oleo(SonnyRollins)OntheScene(Gillespie/Fuller/Roberts)

AirMailSpecial[differentbridge](BennyGoodman,/JimmyMundy/CharlieChristian)

BopCity[differentbridge](KaiWinding)Boperation[differentbridge](Fats

Navarro/HowardMcGhee)BrownieSpeaks[Asectionaltered](CliffordBrown)

Chase,The[differentbridge](DexterGordon)ChristmasEve[differentbridge](Slide

Hampton)Compulsion[differentbridge](MilesDavis)CouldJa[differentbridge](Carey/Fischer)Crazyology[Asectionsaltered](Benny

Harris)CTA[Asectionsaltered,differentbridge]

(JimmyHeath)DexterDigsIn[differentbridge](Dexter

Gordon)Dexter’sCuttin’Out[differentbridge](Dexter

Gordon)DixieJamboree[differentbridge](perf.byNat

KingColeTrio)

DizzyAtmosphere[differentbridge](DizzyGillespie)

Doin’theBowWow[differentbridge](perf.byNatKingColeTrio)

Eb[differentbridge](perf.byNatColeTrio)EternalTriangle[differentbridge](Sonny

Stitt)FatherKnickerbopper[differentbridge](Tiny

Kahn)FiveBrothers[differentbridge](Gerry

Mulligan)FlyingHome[differentbridge](Lionel

HamptonandBennyGoodman)ForHecklersOnly[differentbridge](Ray

Brown/GilFuller)GoodBait[differentbridge](TaddDameron)HipHipHooray[differentbridge](perf.by

NatKingColeTrio)HitThatJivejack[differentbridge](Skeets

Tolbert)HoySoy[differentbridge](perf.byNatKing

Cole)IWasDoin’Alright[differentbridge](George

Gershwin)I’mBoppin’Too[differentbridge](Lorraine

Gillespie)JamMan[Asectionaltered](MartyGreene)Jumpin’withtheMop[differentbridge](perf.

byNatKingCole)Kim[Asectionaltered](CharlieParker)Lollypop[differentbridge](Shorty

Rogers/TerryGibbs)Manteca,solochanges[differentbridge]Dizzy

Gillespie)Merry‐Go‐Round[differentbridge](Charlie

Parker)Move[differentbridge](DenzilBest)ProfessorBop(BabsGonzales)Room608[differentbridge](HoraceSilver)Scotchin’withtheSoda[differentbridge](W.

JackRiley)Serpent’sTooth,The[differentbridge](Miles

Davis)Settin’thePace[differentbridge](Dexter

Gordon)SmokeyJoe[differentbridge](Van

Phillips/EmilAscherSoSorryPlease[differentbridge](Bud

Powell)StoptheRedLight’sOn[differentbridge]

(TapsMiller)Swingin’forBusy[differentbridge](Sonny

Rollins)Symphonette[differentbridge](Tad

Dameron)T’ain’tWhatChaDo[differentbridge](Sy

Oliver)Take‘em[differentbridge](perf.byNatKing

ColeTrio)ThirdRail[differentbridge](Michael

Brecker)TuxedoJunction[differentbridge](Erskine

Hawkins/BuddyFeyne/WilliamJohnson/JulianDash)

WigglyWalk[differentbridge](Jacobs/Oppenheim/Palmer)