In Step #2, I recommend learning the melody to "I Got Rhythm" and jazzing that up a bit. That's how Rhythm Change "heads" started in the first place. It very much helps to keep that melody in your head as you improvise.
Outlining all the chords is a good flavor, but I like learning the foundational harmony better--especially when navigating uptempo rhythm changes. It's a lot of V I relationships. Barry Harris explained it perfectly, IMO. Peter Bernstein also has a similar approach to finding the key harmonic movements to outline. Then, you layer in all the chords as Brent does here--and it's a flavor on top of that structure. Works better than the other way around, I think. More freedom and you can focus on groove and melodic development when you pair it down--to what the original changes were (ish).
One of the best tutorials out there, very clear and concise. But I agree with David that it's much easier to start bar 5 on the Fmin7 going to the Bbmaj7, 2 slashes each on the rhythm, and on all the following sections.
Wow! This just puts together so many great learning ideas! I'm inspired to get back to work on rhythm changes (I had kinda given up) and taking these steps to other tunes.
Hey , i like your Chanel à lot. I am jazz saxophoniste and teacher too and i find you very fresh and inspiring. Thanks for all you are doing here. 👍👍👍👍
Solid advice as always Brent. Everyone does seem to have slightly different chord changes for Rhythm Changes though! It used to bug me but I kinda realise that's just the way it is with lots of jazz tunes. Personally I don't think of bar 5 as I major but a ii V well actually v minor to I dominant 7... and bar 6 I sometimes play as you have it but usually... IV Dom 7 to bVII Dom 7...
I think my problem with Rhythm Changes is I don't feel it. For example, I feel the blues. Maybe I am not a world class blues player, but I am still confident in saying I hear the blues and feel them. With Rhythm Changes I just don't feel it.
Like he says in the beginning of the video, Rhythm Changes refers to the harmony of any song, like Oleo, that uses the same chord progression of the song I Got Rhythm.
I know this is old, but "Rhythm Changes" is a 32 bar (split into four 8 bar sections) AABA song form taken from George Gershwin's "I Got Rhythm". It was and still is a popular set of chord changes for Jazz musicians to play on. A lot of more modern tunes are "Rhythm Changes" but with a different melody and possibly some slight variations to the chord progression. "Oleo" by Sonny Rollins, "Anthropology" by Charlie Parker, "Rhythm-a-ning" by Thelonious Monk, and "Salt Peanuts" by Dizzy Gillespie are all examples of Rhythm Changes tunes. So the name doesn't actually refer to the act of changing rhythms, but the chord changes to the song "I got Rhythm". Short answer is yes, it's just what people call a specific chord progression so that even if someone might not know a tune, they can still understand Rhythm Changes.
Right away in step 3 don’t like your voice leading because the root of G sounds like shit. The better tone there is to play the flat 9 of G connecting to the diminished down, which is what everyone actually plays.
no 1, for you, and the grammerly ad girly. there is a "T" in important. Articulation in speech and music. ImporTant. not impor--int second, like Joe Pass says, and does, "i only think about the V".... Play G altered stuff 1st bar 2bars ... play F alt. stuff last 2 bars of turnaround and the first 4 bars......."i only think about the V .....at these tempos it's coming too fast to think the ii chord"....... It works.
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The eternal triangle with Diz and the two Sonnys. Stitt and Rollins. The greatest Rythm Changes recording ever made.
In Step #2, I recommend learning the melody to "I Got Rhythm" and jazzing that up a bit. That's how Rhythm Change "heads" started in the first place. It very much helps to keep that melody in your head as you improvise.
Outlining all the chords is a good flavor, but I like learning the foundational harmony better--especially when navigating uptempo rhythm changes. It's a lot of V I relationships. Barry Harris explained it perfectly, IMO. Peter Bernstein also has a similar approach to finding the key harmonic movements to outline. Then, you layer in all the chords as Brent does here--and it's a flavor on top of that structure. Works better than the other way around, I think. More freedom and you can focus on groove and melodic development when you pair it down--to what the original changes were (ish).
One of the best tutorials out there, very clear and concise. But I agree with David that it's much easier to start bar 5 on the Fmin7 going to the Bbmaj7, 2 slashes each on the rhythm, and on all the following sections.
Great lesson and great timing for me - making this my next mission. Your advice on moving through fast changes and guide tones is good too.
Glad it was helpful!
Really helpful video! Especially the stuff about enclosure! 🙂
Thank you!
This is a super analysis. I have your book and I've learned a lot from it on functional harmony and intuitive understanding
with the voice leading point, the way I was taught was to always try and use half steps when trying to learn the chord tones
Great step by step breakdown. Really well done😁👍🎸🎸
Glad you liked it!
no tablature? i love it!!!
Wow! This just puts together so many great learning ideas! I'm inspired to get back to work on rhythm changes (I had kinda given up) and taking these steps to other tunes.
Go for it!
Your videos are great, man! just wanted to tell you that. Cheers!
I appreciate that!
Great valuable advice here. Thanks Brent. On another note the video zooming in and out and the jump cuts are a bit hard to watch though.
Thanks for the feedback! Will tell my team.
Hey , i like your Chanel à lot. I am jazz saxophoniste and teacher too and i find you very fresh and inspiring. Thanks for all you are doing here. 👍👍👍👍
My pleasure!
👍👍👍 super :-)
Good stuff Brent! Thanks
Thanks for watching!
Totally totally!
6:05 Mister Sandman 😊
This is the most helpful video ever 👍
Glad you think so!
Most Realbooks have at Bar 5 a dominant 7 of the root, why a major?
Be nice if you would address what bassists should do. Thx.
Super thanks
Thanks!
Thank you!
Thanks!
Thank you!
hope this works on remix 7 in rhythm heaven fever
Solid advice as always Brent. Everyone does seem to have slightly different chord changes for Rhythm Changes though! It used to bug me but I kinda realise that's just the way it is with lots of jazz tunes. Personally I don't think of bar 5 as I major but a ii V well actually v minor to I dominant 7... and bar 6 I sometimes play as you have it but usually... IV Dom 7 to bVII Dom 7...
v minor?
@@TheClaumigue yes precisely! That was a typo...
Dude. We don't need the extreme zoom. You have our attention, trust us. You don't need the editing tricks.
# 1 thing you can do is to just transcribe any Parker solo on rhythm changes
I think my problem with Rhythm Changes is I don't feel it. For example, I feel the blues. Maybe I am not a world class blues player, but I am still confident in saying I hear the blues and feel them. With Rhythm Changes I just don't feel it.
When playing it or listening to it
is the chord tone map literally just Mr. Sandman? ....
Wait... Is the "rhythm change" some kind of codename for something specific apart from changing rhythm in a song?
Like he says in the beginning of the video, Rhythm Changes refers to the harmony of any song, like Oleo, that uses the same chord progression of the song I Got Rhythm.
I know this is old, but "Rhythm Changes" is a 32 bar (split into four 8 bar sections) AABA song form taken from George Gershwin's "I Got Rhythm". It was and still is a popular set of chord changes for Jazz musicians to play on. A lot of more modern tunes are "Rhythm Changes" but with a different melody and possibly some slight variations to the chord progression. "Oleo" by Sonny Rollins, "Anthropology" by Charlie Parker, "Rhythm-a-ning" by Thelonious Monk, and "Salt Peanuts" by Dizzy Gillespie are all examples of Rhythm Changes tunes. So the name doesn't actually refer to the act of changing rhythms, but the chord changes to the song "I got Rhythm". Short answer is yes, it's just what people call a specific chord progression so that even if someone might not know a tune, they can still understand Rhythm Changes.
And Swing 42
I've heard it as instead of saying "lets play the 'I Got Rhythm' changes" it is shortened to "rhythm changes".
Bernie Hancock describes rhythm changes differently in his Masterclass.
geil
That bent red book in the background is so distracting. You’re gonna warp your book, man!
SOS UKRAINE!!!
I really like your stuff but please stop the zoom in/out every few seconds. Makes me nauseous and takes away from the instruction. Thanks.
Thanks so much! We will work on your feedback.
Right away in step 3 don’t like your voice leading because the root of G sounds like shit. The better tone there is to play the flat 9 of G connecting to the diminished down, which is what everyone actually plays.
no 1, for you, and the grammerly ad girly. there is a "T" in important. Articulation in speech and music. ImporTant. not impor--int
second, like Joe Pass says, and does, "i only think about the V".... Play G altered stuff 1st bar 2bars ... play F alt. stuff last 2 bars of turnaround
and the first 4 bars......."i only think about the V .....at these tempos it's coming too fast to think the ii chord"....... It works.