Rhythm Changes Courses

If you are looking to have more material to use in becoming improvisationally more varied and freer on "I Got Rhythm" changes and all II-V-I and cycle based jazz progressions, look no further than this second session with Randy Johnston. This class teaches a multitude of variations of the I-VI-II-V progressions and back cycle variations using tritone substitutions and secondary dominants to create more harmonically colorful lines on "Rhythm Changes" which can also be applied to other II-V-I based jazz tunes. Specific examples are demonstrated visually and also notated in written form. Sub-topic 1: I-VI-II-V variations with specific examples Sub-topic 2: Tritone substitutions applied to these progressions in various ways with specific examples Sub-topic 3: Extended back cycle ideas for more harmonic variation Categories: Modern Jazz Guitar Practicing Rhythm Changes Soloing Theory Level: Intermediate Advanced Duration: 33 Minutes

If you are looking to improvise on “ Rhythm Changes ” much more easily and confidently, with greater harmonic and melodic freedom, this is the class for you! Randy teaches 2 basic versions of the Rhythm Changes A section, with explanations of the harmonies contained in them and then I give specific written examples of phrases to match those harmonies. He is able to simplify those harmonies to make it possible for the student to more easily construct his/her own more melodic solos for Rhythm Changes. Sub-topic 1: Rhythm Changes A section chord changes (2 Versions) Sub-topic 2: Specific written lines to play over the above-mentioned changes Sub-topic 3: Harmonic Reduction to simplify the changes, with examples Categories: Harmony Practicing Rhythm Changes Soloing Theory Level: Intermediate Advanced Duration: 40 Minutes

After the blues, probably the most played and most essential chord progression/song form in jazz is the famous “rhythm changes.” This chord progression, originally derived from George and Ira Gershwin’s classic “I Got Rhythm,” written in 1930, has been performed or recorded by countless jazz musicians. The simple elegance of the song’s architecture became a favorite vehicle for improvisation and inspired many musicians to build their own compositions with all new melodies around the borrowed chord structure. At the same time, and especially during the bebop era in the 1940s, harmonic variations were woven into the song’s basic form. Because of its historical significance and classification as a standard, any aspiring jazz musician will need to be familiar with rhythm changes and should work toward mastering its many variations. Rhythm changes is considered to be something of a proving ground for young up-and-coming players due to the harmonic complexity of many of the versions and the fast tempo at which the form is often played. A new generation of musicians has reinvigorated jazz with fresh and innovative sounds and approaches, but rhythm changes continues to be an essential part of the modern style. If you are interested in learning rhythm changes in a complete, logical, and thorough manner, incorporating modern elements while still maintaining a thread of the tradition when you play over the form, or gaining proficiency with playing this progression or others at up-tempos, then this class is for you. In this class, the rhythm changes form will be explored in detail with the goal of applying modern jazz melodic, harmonic, and rhythmic vocabulary to the progression. First will be a brief survey of the structure and history of the form along with exercises for gaining mastery over the basic harmonies. Then, common mainstream approaches for melodic and harmonic variations on the progression will be outlined. Finally, modern approaches to melody, harmony, and rhythm will be applied to the rhythm changes progression. Rhythm changes: A Modern Jazz Guitar Approach - Part II covers: Discussion of tonal, modal, and polytonal approaches to harmony Examples of plateau modal approaches to the A section using such sounds as diminished, diminished dominant, lydian dominant, mixture of blues and mixolydian, and altered Applying modern melodic vocabulary to the rhythm changes form, including 3-part-4ths, 4-part-4ths, and wide interval patterns and arpeggios McCoy Tyner-style example using quartal harmony and polytonal side-slipping Basic polyrhythm applications for melodic and harmonic improvising, groupings of three Applying modern harmonic vocabulary, 4-part-4th, Triad over Bass I, and Triad over Bass II chord types using the “replacement” concept Discussion of using the augmented scale to generate melodic and harmonic ideas with examples Exploration of tertiary-based polytonal side-slipping Advanced polyrhythm applications for melodic and harmonic improvising including half-note and displaced half-note triplets, unusual groupings of eighth- and quarter-note triplets, and groupings of five and seven eighth-notes List of suggested rhythm changes tunes Running time: 113 minutes 29 pages of written examples (including chord diagrams, standard notation, and TAB), exercises, and example solos with close-up views of the performances Each example performance is titled and numbered for easy navigation 24 MP3 backing tracks for written examples and solos

After the blues, probably the most played and most essential chord progression/song form in jazz is the famous “rhythm changes.” This chord progression, originally derived from George and Ira Gershwin’s classic “I Got Rhythm,” written in 1930, has been performed or recorded by countless jazz musicians. The simple elegance of the song’s architecture became a favorite vehicle for improvisation and inspired many musicians to build their own compositions with all new melodies around the borrowed chord structure. At the same time, and especially during the bebop era in the 1940s, harmonic variations were woven into the song’s basic form. Because of its historical significance and classification as a standard, any aspiring jazz musician will need to be familiar with rhythm changes and should work toward mastering its many variations. Rhythm changes is considered to be something of a proving ground for young up-and-coming players due to the harmonic complexity of many of the versions and the fast tempo at which the form is often played. A new generation of musicians has reinvigorated jazz with fresh and innovative sounds and approaches, but rhythm changes continues to be an essential part of the modern style. If you are interested in learning rhythm changes in a complete, logical, and thorough manner, incorporating modern elements while still maintaining a thread of the tradition when you play over the form, or gaining proficiency with playing this progression or others at up-tempos, then this class is for you. In this class, the rhythm changes form will be explored in detail with the goal of applying modern jazz melodic, harmonic, and rhythmic vocabulary to the progression. First will be a brief survey of the structure and history of the form along with exercises for gaining mastery over the basic harmonies. Then, common mainstream approaches for melodic and harmonic variations on the progression will be outlined. Finally, modern approaches to melody, harmony, and rhythm will be applied to the rhythm changes progression. Rhythm changes: A Modern Jazz Guitar Approach - Part I covers: A brief history of rhythm changes and its importance in jazz Basic rhythm changes progression defined and analyzed, including harmonic function analysis and discussion Typical bebop style harmonic variations on rhythm changes defined and analyzed, including harmonic function chart Tri-tone substitution Melodic minor mode substitution, including the use of augmented major seven and minor major seven arpeggios and chords for implying melodic minor sound Detailed chord/scale analysis for three different variations of the A section Arpeggio and scale studies for rhythm changes, including typical substitute sounds, with emphasis on fingerboard mastery and voice leading Discussion of guide tones, approach notes, and target notes with examples, including excerpts from several master improvisors’ solos Discussion of “the big three progressions” and using them interchangeably for substitute sounds, with multiple examples Discussion of other typical bebop devices such as chromatically descending minor seventh chord, “Ladybird,” and cycle of dominant substitutions Diminished scale use for both diminished and dominant sounds Discussion of simplifying the harmony on the A sections using such devices as blues, I diminished, diminished dominant, and altered dominant sounds Discussion of soloing on the bridge or middle section including the use of typical bebop vocabulary, as well as diminished dominant, altered dominant, and lydian dominant sounds Extensive discussion on playing at fast tempos, including various suggestions and exercises, as well as a transcribed solo of Tom’s improvisation with a step-by-step analysis of the improvisor’s thought process while soloing Running time: 138 minutes 23 pages of written examples (including chord diagrams, standard notation, and TAB), exercises, and example solos with close-up views of the performances Each example performance is titled and numbered for easy navigation 40 MP3 backing tracks for written examples and solos

The chord changes to "I Got Rhythm" are required study for any jazz musician. Hundreds of tunes are fashioned after the Gershwin standard as well as the most popular turnarounds using the one-six-two-five progression and its substitutions. In this class I'll outline many of the useful soloing concepts including reharmonization, guide-tone lines, arpeggio usage, chord scales and motivic development using arpeggios and scales. Other topics will include reducing the changes down to basic cadences such as five to one and four minor to one as well as running the changes playing off of each chord. Learn simple and effective tricks to making the changes and handling up-tempo playing. This will be packed full of information that can be applied quickly. If rhythm changes have always been hard to handle or if you are just in need of some new ideas then this class is for you! View a clip from Steve's Class.

Master the sophisticated art of jazz comping on blues and rhythm changes with renowned guitarist Paul Bollenback in this advanced workshop designed for seasoned players ready to elevate their harmonic vocabulary. This comprehensive course goes beyond basic chord progressions to explore the melodic approach to comping—a technique that transforms your accompaniment from mere harmonic support into a dynamic musical conversation. Paul demonstrates his systematic approach to voice leading on Bb blues, revealing how to create compelling melodic lines within your chord voicings using rootless voicings, shell chords, and strategic tension substitutions. You'll learn to navigate the delicate balance between providing harmonic clarity for soloists while maintaining your own melodic interest through carefully crafted voice movements and common tone connections. The course emphasizes practical performance skills essential for working musicians: how to react and respond to soloists in real-time, when to lead versus follow, and how to adapt your voicings when playing with different rhythm section configurations. Paul breaks down specific voicing options including 13th chords, #9 alterations, and tritone substitutions, showing exactly how to apply each in live playing situations. Whether you're accompanying in a club setting or recording session, these techniques provide the harmonic sophistication and flexibility demanded by professional jazz performance. Perfect for intermediate to advanced guitarists who already understand basic jazz harmony and are ready to develop the nuanced comping style that separates competent players from true jazz artists.

A ‘Two-Speed’ Approach To Rhythm Changes It’s probably the second most called tune in the repertoire, after the blues, but the famous “ Rhythm Changes ” (i.e. the many variants of Gershwin’s “ I Got Rhythm ”) always presents a challenge to musicians at every level of experience. As we study this tune, we should be aware that it’s simultaneously the most complex and the simplest piece in the book; hence the ‘two-speed’ approach. This lesson has been carefully designed to offer something to everyone: on the one hand, it includes a wide range of chord substitutions, lines and progressions we can add to the basic form, whilst on the other hand, we deconstruct the song and reduce it to its barest essentials. This jazz guitar lesson includes: Advice on creating lines over a static major tonality. Advice on breaking down the difficult A section into a simpler (but still convincing) progression. Simple lines to negotiate the full A section changes, broken down into their component parts, so that you can create similar ones of your own. Thorough discussion and demonstration of several different bridge progressions. Thorough discussion and demonstration of many different harmonic substitutions, including ideas relating to the playing of great saxophonists like Sonny Stitt and John Coltrane. Advice on how to get “outside” the changes in your lines. Clear and detailed PDF containing many written examples. Synchronised on-screen captions, so that you know exactly what you’re hearing at any given moment. Every concept discussed is broken down slowly, and then performed at tempo with rhythm section backing, so you can hear it in a performance context.

This class continues on from Jake's popular first Mike's Master Class "Making the Changes - Translating the Jazz Language on Guitar". Where the first class focused on one tonal center, this one covers connecting melodies through rhythm changes. In This Class: continuing the 4 note cell connection in part one to apply to 2 chords per bar progressions examples and analysis of lines applying diminished chords in the lines follow along and see how Jake spontaneously creates lines with these concepts Running Time: 39:58 min Written Examples: None