I STRUGGLED at playing RHYTHM CHANGES until I figured THIS out...

[@music_magus]

Hey everyone! Thanks for stopping by the Music Magus channel. Just to be clear, I am in no way trying to say that one shouldn't work towards being able to outline all the changes (and the many alternate possibilities) - or that many of the great players from jazz history who have played their hearts out on Rhythm Changes didn't/couldn't do that. Simply that it's not the only way to get through the tune - and in my opinion not the best place to start. Or indeed that it's necessary (or even desirable) to do that all the time, even when you are able to. All the best with your music, AjC

[@effsixteenblock50]

I think you were right to approach RC this way. It's important to be able to play vertically (outlining the chords & extensions) but that kind of approach, if used exclusively, can become it's own prison. I would also recommend that people listen to RC type tunes, maybe even exclusively for a time. That's how you'll pick up the idiomatic language, time-feel etc. Thanks for the video!

[@music_magus]

@@effsixteenblock50 Absolutely! I realise I didn't focus on it here, but in my opinion deep deep listening to the classic recordings, learning to sing the melodies and solos, then ultimately learning them on one's instrument is fundamental to the process of learning jazz. Thanks for your insights! 🤠🤘 AjC

[@michaelleavey6533]

Oh no, We get it! More people should be talking about this. I was just working on Blues for Alice. It's the same kind of deal. You need to be melodic on these tunes and when you start out on it, just trying make the changes its too robotic. F major works fine for most of Blues for Alice but I didn't even consider it until my teacher recommended trying it.

[@PeterHutley]

Hi Aleister, greetings from Sydney. I've been struggling with this for years and your video has helped a lot in working out a simpler approach. Thanks. I'll be following you from here on looking for more gold.

[@music_magus]

Thanks a bunch, I hope I can deliver! Love Sydney, got a few good friends playing music up there. 🤠

[@KevinTPLim]

Thank you, this is amazing! I’ve never imagined I could think fast enough to play over those sorts of changes (without a ton of practice, and even then), but now I see how it can be possible. You’ve given me a whole new perspective on this subject 🙏

[@music_magus]

That's great to hear! Thanks for taking the time to leave a comment. 😎🤘

[@AnthonyShaw-ty9pi]

Wow!! Well done👍👍 Great explanation. Thx

[@music_magus]

Thank you, I appreciate it!

[@francisb528]

I’m so happy I came upon this video and your channel. Thanks so much for sharing this.

[@music_magus]

You've very welcome! Thanks for taking the time to comment.

[@michaeldean9338]

I'm a reed-player, but I really appreciate your input. Greetings from Florida, U.S.A. Peace

[@music_magus]

@@michaeldean9338 Cool! I’m a dabbler on Alto sax myself. Thanks for stopping by. 🤠

[@michaeldean9338]

@@music_magus Sweet! Will share your channel. peace

[@music_magus]

@@michaeldean9338 Thanks! Much appreciated.

[@kayakernz]

Cool magus.iv locked you in.first kiwi iv found on here.steve from ngatea.

[@music_magus]

Kia ora, my friend! Awesome.

[@davidpanzer1166]

great stuff!

[@music_magus]

Thanks!

[@UncleWalter1]

I feel like your videos are to jazz education what the Khaby Lame meme is to life hack content. So many people are overcomplicating things from the start and so many of us struggle to make inroads when starting out. Thanks, yet again, for a great video. You and the OpenStudio folks are really out here just killin' it.

[@music_magus]

Thanks Kev, lovely to be mentioned in the same breath as bonafide internet royalty!

[@vecernicek2]

Hey man, that's exactly how I feel. Overthinking is the modern mind virus and the worst enemy of success in playing and learning jazz. It's so refreshing to see the old masters in their old instructional videos. They always amaze me how straightforward is their way of thinking. Everyone knows so much more theory nowadays, but not so many of us can play as well as these old masters.

[@music_magus]

@@vecernicek2 100%..! A little bit of theory, combined with a whole lot of listening and playing goes a long way in my opinion. We're fortunate to have access to so much wisdom from the old masters.

[@NelsonMontana1234]

I agree completely.

[@music_magus]

Cheers!

[@eohippusone]

Heart & Soul uses rhythm changes.

[@georgesember9069]

Back in 1959, I used to listen to Tal Farlow and wonder what he was doing, wildly swinging away. I even saw him live a few times, once with Red Norvo! Eventually, I figured out that he was playing rythym changes. I was never able to really work it out myself!! Thanks for posting!!

[@music_magus]

Thank you! Have to admit to being quite envious you saw Mr Farlow. A burning guitar player, for sure. I'll have to dig out my Tal records, been a while...

[@vecernicek2]

@@georgesember9069 Wow, that would have been great to experience the jazz in the 50s live, especially something like Red Norvo and Tal Farlow. Great era.

[@idontwanttousemynameyoutub7538]

Everything you said is true. Regarding the A section being Bb and F7, a common approach is to think of Bb and C minor, where you enclose the C note. It gives the hint of the G7 without the complexity. You can do the same with just Bb and B7/F7 altered sounds. However if you think that the great players can't play through all the changes at high tempo, you're fooling yourself. They absolutely can, including all the substitutes - Bb, Db7, Cm, B7 etc. The real secret to rhythm changes as you noted is to have many different approaches and be free to create interest melodically, at high tempo, which is hard!

[@music_magus]

Thanks for your deeply informative comment! It sounds like you should be giving me a lesson. ;-)

[@idontwanttousemynameyoutub7538]

@@music_magus You seem to be doing alright. Rhythm changes are a lifelong pursuit! I do have a couple of exercises that might help though that I'm happy to pass on.

[@music_magus]

Feel free to drop any information you think might be useful here in the comments for anyone who might be interested. All I meant to imply was that you're obviously a much higher level of student than this lesson was aimed at. Mastery of music is a lifelong pursuit, indeed. Out of curiosity, who are your favourites players to have carved it up on the rhythm changes?

[@idontwanttousemynameyoutub7538]

@@music_magus Well if you're looking at guitar - Scofield, "Flat Out", "Steeple Chase" of which there are at least 3 different recordings, Metheny, "What do you want?" of which there are multiple recordings including live with Brecker, and "Rejoicing". Of course GB with many including "Oleo" at the fastest tempo I've ever heard, and Wes' "Cotton Tail" and "We Got Rhythm". On Other instruments, Sonny Rollins, Coltrane, Joe Farrell, Miles, Brecker, Joe Herderson - I could be here all day!

[@music_magus]

@@idontwanttousemynameyoutub7538 Great! Some real bangers in there. So many deeply personal approaches to this progression. Hadn't listened to that Benson version of Oleo in about 20 years. So burning. Thanks for sharing. AjC

[@idontwanttousemynameyoutub7538]

Some basic stuff: break the progression up, like everything, and practise I -VI - II - V all day. Definitely break that down to Bb - F7, or just Bb - Cm as I described - enclose the "C". Practise Bb - B7 (F7Alt) also, and then all the variations - Bb - Db7 - Cm7 - B7, Bb - G7 - Cm - C#dim7. There are more, but your goal is to "float" above those changes. You can use any or all of these ideas/progressions on the first part of the A section. The basic changes are usually agreed on, but the soloist can do whatever they wish. Some people like to try to "catch" peoples substitutes with the accompaniment, but I think it sounds better if the soloist if free to play over the top of the same set of changes. I like it "out"!

[@music_magus]

Cheers for sharing this great info! You sound like you really know your stuff. From a teacher's perspective I'd probably say that trying to work on these progressions is somewhat above 'the basic' level for someone dipping their toes into the jazz pool for the first time. 'Common' ways to alter a standard I - vi - ii - V7 progression, for sure. There's a world of information out there these days for people wanting to learn interesting ways to approach playing through chord changes. With my content I'm trying to help people build a strong foundation to build upon so that they don't get stuck in a cycle of trying to play music that is beyond their current level (as was what happened to me in my early years). Greetings from NZ, AjC 🤠🤘

[@idontwanttousemynameyoutub7538]

@@music_magus Yeah that's true - I always go too far! Still it's never too soon to get started on that progression, as long as you don't get bogged down. What you've done already is an excellent basic approach, and people should remember that you don't want to play a string of 1/8 notes through the entire solo - that's for practice. Blues phrasing and simple melodic ideas are a great "resting' place in any solo, not just a simple way to do it.

[@music_magus]

@@idontwanttousemynameyoutub7538 Absolutely! Thanks again for sharing your knowledge.

[@moo639]

Another approach would be to consult the Gershwin.

[@music_magus]

Yes indeed!

[@jonbuckner4467]

nice

[@music_magus]

Cheers!

[@DDB2020]

Oh it's a song called rhythm changes. I get it.

[@music_magus]

More or less. yeah. A type of chord progression based on the song 'I Got Rhythm' by George and Ira Gershwin.

[@JTMC-f9w]

nothing says jazz like england

[@music_magus]

I want a t-shirt with that on it.