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Dexter Gordon's 'Apple Jump' is medium tempo and a great source of ideas for RC, full of nice clear lines. (and of course Barry H. is on it too!)
Originally Posted by TOMMO
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06-19-2017 03:59 PM
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DG is a good shout as an accessible source of language - rhythmically pretty straightforward and super CLEAR unlike Prez sometimes, and doesn't have the intimidating speed of Parker. Need I mention that the opening bars of his solo on Second Balcony Jump are a Bb minor blues scale lick? Originally Posted by grahambop
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Setting Barry Harris aside (I may do a vid on Rhythm tunes using his approach), here's a question for you: Originally Posted by TOMMO
Check out the Lester Young changes in the link above.
| Bb Bb/D | Eb Eo7 | Bb/F Dbo7 | Cm7 F7 |
| Bb Bb/D | Eb Eo7 | Bb F7 | Bb F7 |
So what has that got in common with fast Bebop Rhythm Changes?
| Bb6 | Cm7 F7 | Bb6 | Cm7 F7 |
| Bb7 | Eb7 | Bb6 | Cm7 F7 |
(from the Omnibook)
Or Realbook rhythm changes?
| Bb6 Gm7 | Cm7 F7 | Dm7 G7 | Cm7 F7 |
| Fm7 Bb7 | Ebmaj7 Ab7#11 | Dm7 G7 | Cm7 F7 |
(from the Real Book (IIRC))
More Q's
How many variants of RC changes can you find?
How does it sound to play one on the other?
Do bebop lines stick to one version of the changes or the other, or do they move between them?
And how significant do you think individual chords and their extensions are on progressions that move so quickly?
Also how good does it sound to articulate all the harmony in arpeggios or is it better to create clusters of detail?
Can the harmony be implied in a simpler way?
How can you make scales sound like jazz lines?
These are questions I have grappled with for over 20 years. I try to explore them in my playing, so to speak.Last edited by christianm77; 06-19-2017 at 06:37 PM.
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If anyone's interested:
http://www.musicomic.com/wp-content/...Apple-Jump.pdf
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Thanks for the link - saved for further reference. Originally Posted by ragman1
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Originally Posted by christianm77
I think I realize what you mean to say there. Without answering all your questions in detail: no matter what subs for example are being used in the changes it all boils down to the same basic chord progression, right?
Anyway: thanks for taking the time and being of help - I really do appreciate it!
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Your answers are broadly similar to mine I think, but there's a lot of info encoded in apparently glib or laconic statements. God is in the details.... Originally Posted by TOMMO
The importance of RC to jazz students is to make them face up (I think) to the limitations of the chordal approach be it CST, arpeggios, whatever. The student has to start thinking about movement within the key, and find ways to do this in an interesting way rather than merely slavishly following the changes, which becomes boring very quickly.
As a result, I think players who say 'I never could get to grips with rhythm changes' lack a movement concept in their playing, because really that's the only way to play it. You can be badass at modal stuff or even many standards, but RC can flummox you. You can just avoid RC for your career, in fact! (though probably not if you want to play straightahead haha.)
But it has something to teach us as improvisers.
Anyway, RC is an interesting one to me because it got me thinking functionally and pulled up two key points:
1) the nature of movement and voice leading between stable functions and the fact that their relationships are horizontal in nature - linked to the previous and next chord - rather than . For example:
Eb Em6 | Bb
or
Eb Eo7 | Bb
For example Bud Powell swaps between the two in his head Wail. Did he expect the accompanist to play different change to exactly fit the head? Maybe, but I doubt it. Also it's unnecessary as the line is played in unison by the horns and is strong enough to state the harmony without accompaniment.
These points strongly imply this horizontal linking nature of the chords.
2) a realisation that (S) subdominant and (D) dominant are basically aspects of the same thing and not totally separate. RC can be thought of as this (T = Tonic)
T --> S --> T --> S etc
where --> indicate some sort of linking movement
But, my simplified Barry Harris version had
T | D | T | D | T | S |
In fact, it's often the subdominant options that sound best on dominant. Add chromatic voice leading to taste.
These concepts have got me a long way with RC, and changes playing in general.Last edited by christianm77; 06-20-2017 at 07:44 PM.
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Good post - thanks Christian.
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That's one excellent way to shut me up :-) Originally Posted by TOMMO
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Never fudge on your Form 24B.
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I think that a group Form 24B submittal is in order for this thread.
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Wasn't my intention, though....always appreciating some good advice and tips.... Originally Posted by christianm77
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Listen, Officer, I don't know these guys, never saw them before in my life.
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