1-6-2-5 (Rhythm Changes) Lines Advice

[acoustic_archtop]

Hi all,

I'm currently trying to play over a number of tunes that revolve around I-VI-ii-V (C-A7-Dm7-G7)... Polkadots; I Can't Get Started; Stars Fell on Alabama etc.

I'm looking for some inspiration to learn some 'beginner' 1-6-2-5 lines / arpeggios etc.

I have looked into a Barry Greene Lesson (Linear Turnaround Secrets) which was brilliant, as well as the Joe Pass Guitar Style book where he has a few 'etudes' that were really helpful.

Any advice for a beginner getting started running lines over this form.

Can you play along and play the chord tones (arpeggios) smoothly over the chord changes? from the 6th string root? from the 5tgh string root? If you can do that, you're 75% there and most people will hear that and think it sounds awesome. You'd be surprised how your ear and fingers move naturally once you get comfortable with that. You'll 'hear' chromatic approaches, common tones etc. Don't try to read something here and learn it, just let your fingers and ears be your guide but, start with being able to play 8th note chord tones, non stop, through the changes like I mentioned.

[Cunamara]

First thing to do, all this other stuff notwithstanding, is to learn the guide tones for any progression and how they connect as the chords move. What are the 3rds and 7ths of every chord? Make sure your lines address those tones, regardless of whatever other stuff you are doing, so that your lines attach to the underlying harmony.

[rpjazzguitar]

Hi all,

I'm currently trying to play over a number of tunes that revolve around I-VI-ii-V (C-A7-Dm7-G7)... Polkadots; I Can't Get Started; Stars Fell on Alabama etc.

I'm looking for some inspiration to learn some 'beginner' 1-6-2-5 lines / arpeggios etc..

Divide a page into 4 columns. Write C A7 Dm7 G7 in the first row, one in each column.

Then, below the C, write in a substitute chord in each row. Maybe Em7 Gmaj7 Am7.
Below the A7, write in Eb13, Bbm7, Em7, A7b13 -- whatever else you can think of that might work.
Below Dm7 write in Fmaj7 G7 Am7 Bm7b5
And below G7 write in some subs --- tritone (look it up if you don't know) etc.

Then, over a C A7 Dm7 G7 backing track mix and match from the different rows until you get something you like.

[princeplanet]

Hands up, who plays the C# over the VI chord (more often than not)?

[Christian Miller]

Hands up, who plays the C# over the VI chord (more often than not)?

I mean it would depend on key lol

In seriousness I think it’s helpful in Rhythm Changes to start off by ignoring the VI chord altogether.

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[pcjazz]

In seriousness I think it’s helpful in Rhythm Changes to start off by ignoring the VI chord

I -vi - ii - V = V6 - I6 - IV6 - ii6 (or bvi6)

[Peter C]

Simply put, in the key of C, C7 blues works well if you use your ear to hear which notes fit where. Over the VI dom, you could play a diminished 7 arpeggio off the 4th (C#); C min blues works well there too, if you play it right.

[AllanAllen]

Bb6 and G-7 are basically the same chord anyway.