Rhythm Changes

[Hector]

Hi all,

Starting to move into the realms of bebop playing, and was wondering how you would approach soloing over rhythm changes (figured they'd be good to get into my head)? They go by so fast, I'm guessing guide tones are pretty much the only option, but apart from that I'm quite stumped. I've read about bebop scales and get the concept, but it seems such synthetic scales weren't used by parker et al in the way they were presented in textbooks. Anyway, I'd like to be playing some decent lines over changes, so does anyone have any tips/exercises?

H

[Bilbo]

In broad brush terms, I would break it down into chunks of key centres. If you are playing Oleo in Bb, the A sections are essentially in Bb major, the first two bars in the B section are in D mixolydian, the next six are in two bar sections of G mix, C mix and F mix respectively before returning to the final A section which is, again, in Bb major. Everything else is substitutions and passing tones. After that, its a question of practice, familiarity, taste and experience.

[Doddy]

Like I always say,for solos I always start off by looking at the chord tones,then fill them
out with their relative scales with the ultimate goal of playing melodically over the
changes.
When the chords are going by quickly,look for sections where you can almost 'blanket'
a few bars with one scale(eg. ii-V-I).It will allow you to open up and play longer
phrases than if you are focusing on the changes individually.
In this case you can look at the A section as one big Bb major thing if you want to,and
the B section as stating in D mixolydian then moving in fourths. Of course you can approach
it differently if you want,but this is a way to allow you to think about playing over the
changes melodically without too much thinking.

[Major-Minor]

Both Bilbo and Doddy have it absolutely right. Don't get bogged down in the detailed changes - think in long phrases over each main section.
This is where it really helps to be playing with good supportive pianists or guitarists who can help to point you in the right direction ie emphasising the main sections and modulation points, while giving you space to solo. Its so much easier to be rhythmically and melodically creative if you don't have to constantly count the bars. Mind you, you should always know where you are in the sequence, but it certainly helps the old confidence if you can lean on the others a bit. This is where playing in a regular line up can pay dividends. You can tell them how you want them to accompany your solos and build up a great rapport.

The Major

[Bilbo]

Its also helpful to think in terms of the gaps between the notes also. It is so easy to get into the stream of consciousness string of sixteenths idea. Yu can, if you have a good accompanist, leave lots of space to make you ideas stand out. Its not about being a saxophone player, its about being a bass player.

Don't think of out playing everyone else; think of out musicking them

[Major-Minor]

[quote name='Bilbo' post='790780' date='Mar 30 2010, 04:37 PM']Its also helpful to think in terms of the gaps between the notes also. It is so easy to get into the stream of consciousness string of sixteenths idea. Yu can, if you have a good accompanist, leave lots of space to make you ideas stand out. Its not about being a saxophone player, its about being a bass player.

Don't think of out playing everyone else; think of out musicking them [/quote]
Well said Bilbo !

Never forget that silence is part of music as well. Good phrasing comes from what you leave out as much as from what you put in.

The Major

[Hector]

Thanks guys, this is all great advice! I've had a crack at playing changes this way, and I've realised that I need to get to work on spotting key centers in tunes. One thing that still puzzles me is that the lines I'm playing over rhythm changes don't sound particularly like bebop. Is there a particular way of thinking in order to achieve this sound, or is it more of a "listen and assimilate" jobbie?

[Faithless]

Use some Aebersold material, it should make some sense.

Transcription of solos should be your first goal - by the way, I've just started transcribing Miles Davis' and Sonny Rollins' solos on Oleo, from Bags Groove - not too taxing solos in terms of note quantity and rhythmic stuff, also, there are some beautiful phrases, especially from Miles..

If you won't make it, I'll share it, when I'm done, but, it'll take a week or so..

[lowdown]

[quote name='Hector' post='793860' date='Apr 1 2010, 11:17 PM']Thanks guys, this is all great advice! I've had a crack at playing changes this way, and I've realised that I need to get to work on spotting key centers in tunes. One thing that still puzzles me is that the lines I'm playing over rhythm changes don't sound particularly like bebop. Is there a particular way of thinking in order to achieve this sound, or is it more of a "listen and assimilate" jobbie?[/quote]

Of course listening and transcribing solo's is the best aid for helping develope your own idea's...[and your ear]
The Charlie Parker Omni book in Bass clef is a great visual aid in solo line development.
Well worth £12.95.
Solo's and chord markings all there.
[url="http://www.jazzwise.com/catalog/product_info.php?products_id=6086"]http://www.jazzwise.com/catalog/product_in...roducts_id=6086[/url]


Good Luck

Garry

[valere24]

Rhythm changes is one of these chord sequences where having a couple of well rehearsed licks to outline the chords really works. Probably a good return on investment as you'll probably always play rythm changes in Bb anyway.

My approach would be to think in Bb major, think of the important notes to target outside of Bb major (like B natural on the second chord) and mix long / melodic phrases with these "text book" licks.

+1 for transcribing existing solos. Ray Brown is probably a good start - his solo playing is very logical and lick based.

[Faithless]

[quote name='valere24' post='808561' date='Apr 16 2010, 06:12 PM']+1 for transcribing existing solos. Ray Brown is probably a good start - his solo playing is very logical and lick based.[/quote]

Can't agree with it.

If you want to sound like a another bassplayer when soloing, well then, go on, do it, transcribe Ray, transcribe Carter, transcribe every bassplayer you hear. Oh and don't forget Jaco

IMHO, if you want to sound fresh, there are helluva lot other instrumentalists out there - saxophonists, trumpetists, guitarists, pianists - there's plenty to learn from, Miles is a good start, as I've said before.

What I mean by saying 'sounding fresh', is that, transcribing, for eg., a sax solo will help you to think and to play beyond your instrument boundaries.

It may sound a bit wierd, but, try it, and you'll get, what I mean..

[Bilbo]

This is ROn Carter on Wynton Marsalis' Hesitation off his first LP. Try Spotify. There is no piano on this so it is clear as a bell. Play this a few doazen times and you will start to internalise the changes. Note Carter doesn't start until the middle 8/B section so don't get confused....

[url="http://basschat.co.uk/index.php?showtopic=35615&hl=hesitation"]http://basschat.co.uk/index.php?showtopic=...p;hl=hesitation[/url]

[Faithless]

[url="http://basschat.co.uk/index.php?showtopic=86323"]http://basschat.co.uk/index.php?showtopic=86323[/url]

For you, Hector, and other folks..

Miles Solo on Rhythm Changes (Oleo).