rhythm changes
Edwin Daudrich
them for a friend.. and in fact for me too. I don't seem to have many
rhythm changes tunes.
So I'll start:
I got rhythm
Oleo
Anthropology
Adam Bravo
w/Dizzy Gillespie, but I can't remember the name. Anybody know it? There are
probably more than one.
"Edwin Daudrich" <daud...@sympatico.ca> wrote in message
news:3958FE14...@sympatico.ca...
Ton miroir
Dexterity
rhythm-a-ning
Moose the Mooche
Steeple chase
And if you include tunes that are based on rhythm changes but have an altered
bridge, you have an even longer list.
Edwin Daudrich
Ton miroir wrote:
Ya go for it. Lay it on me.
Adam Bravo
they sound similar, I always thought that the bridge was one of the more
distinctive parts of the Rhythm progression. Also, are you sure that
Rhythm-N-Ing is really a rhythm progression?
"Ton miroir" <tonm...@aol.com> wrote in message
news:20000627203949...@ng-cq1.aol.com...
Mark Garvin
>Hello.. I'd like a list of rhythm heads so I can put together a tape of
>them for a friend.. and in fact for me too. I don't seem to have many
>rhythm changes tunes.
Vol 76 of the Aebersold book/CD series ("How to Learn Tunes" by
David Baker) has a long list of Rhythm tunes. You can turn up
a partial listing by searching Deja for something like
"David Baker" & Anthropology.
One of the greatest, IMO, is Stitt's Eternal Triangle from Diz's
"Sonny Side Up". Sonny Stitt and Sonny Rollins in good form.
The bridge is different: Instead of ascending in 4ths from III7,
E.T. uses a chromatically descending series of II V's. The
transcribed sax solos for that tune are also available from Aebersold.
Several of the Parker things are available in the Omnibook, of course.
Thriving, Anthropology, etc.
MG
Sam Smiley
> Thriving, Anthropology, etc.
They are the same tune.
Also check out "What Do You Want?" by Pat Metheny on his new cd. Other
tunes:
Rhythm-a-Ning
Good Bait
The Theme
Webb City (Bud Powell)
I think Parisian Thouroughfair is one too also by Bud Powell.
I hope this helps.
-Sam
Edwin Daudrich
Sam Smiley wrote:
Who are Good bait and The theme by?
Adam
Mark Garvin
>> Several of the Parker things are available in the Omnibook, of course.
>> Thriving, Anthropology, etc.
>They are the same tune.
Omnibook is solo transcriptions, so they're different
of course. The tunes are slightly different, with one
credited to Parker, the other to Parker+Diz.
MG
Steve Mack
> Who are Good bait and The theme by?
Don't know about Good Bait, but The Theme's by Miles Davis. And by the way,
let's add Monk's 52nd Street Theme to the list, as well as the original rhythm
changes tune I Got Rhythm.
--
Smack
"Good jazz is when the leader jumps on the piano, waves his arms, and yells.
Fine jazz is when a tenorman lifts his foot in the air. Great jazz is when he
heaves a piercing note for 32 bars and collapses on his hands and knees. A
pure genius of jazz is manifested when he and the rest of the orchestra run
around the room while the rhythm section grimaces and dances around their
instruments." -Charles Mingus
Nick Dempsey
Steve Mack wrote:
> Edwin Daudrich wrote:
>
> > Who are Good bait and The theme by?
>
> Don't know about Good Bait, but The Theme's by Miles Davis. And by the way,
> let's add Monk's 52nd Street Theme to the list, as well as the original rhythm
> changes tune I Got Rhythm.
>
Good Bait is credited to Tadd Dameron. Of course, not strictly a rhythm tune as
the bridge is just the A section up a fourth.
And if we're starting to get far afield, let me chime in with Trane's
l"Locomotion." A's are B-flat blues, bridge is a rhythm bridge that descends
chromatically from A-flat (i.e., the rhythm bridge with two tritone subs). Always
messes me up when I try to play it, but a cool idea for a (pretty long) form.
--NPD
Jeff Volkman
On Wed, 28 Jun 2000, Steve Mack wrote:
> Edwin Daudrich wrote:
>
> > Who are Good bait and The theme by?
>
> Don't know about Good Bait, but The Theme's by Miles Davis.
Good Bait is by Tadd Dameron.
Thomas F Brown
>Edwin Daudrich wrote:
>
>> Who are Good bait and The theme by?
>
>let's add Monk's 52nd Street Theme to the list, as well as the original rhythm
>changes tune I Got Rhythm.
Good Bait is by Tad Dameron. I don't know who wrote The Theme, but
I know it wasn't Miles, even if he did put his name on it. Perhaps
Monk deserves more credit for it, but my impression is that it was
already part of the vocabulary before Monk even got to it.
John Hopkin
>they sound similar, I always thought that the bridge was one of the more
>distinctive parts of the Rhythm progression. Also, are you sure that
>Rhythm-N-Ing is really a rhythm progression?
Honeysuckle's bridge doesn't sound anything at all like Rhythm's to me
(except, like most bridges, they end in II-7 & V-7). Maybe it's because the
chords aren't the same ...
Rhythm-A-Ning is definitely a rhythm-type progression, in that it stays
harmonically very close to the root chord, and has a similar 2-beat chord
length. Worth noting that both this and the original will tolerate a pedal
root. Oh, and both are originally in Bb. Many "Rhythm" chord changes
deviate from the original in various ways, though very few retain the "tag"
ending.
BTW, Perdido has a Honeysuckle head married to a Rhythm bridge.
--
John Hopkin
Michael Fitzgerald
<daud...@sympatico.ca> wrote:
>Who are Good bait and The theme by?
Depends which "The Theme" you mean - the one associated with Miles
Davis (from the 1956 Prestige recordings, say) or the one associated
with Art Blakey (from the 1955 Cafe Bohemia recordings, say).
I don't have a problem with saying "Miles Davis" for the first, and
"possibly Kenny Dorham?" for the second. But both are kind of up in
the air.
Mike
Marc Sabatella
> Also, are you sure that
> Rhythm-N-Ing is really a rhythm progression?
I'm sure. Not even altered much.
One of my favorite rhythm changes tracks is Wynton Marsalis'
"Hesitation" from his debut self-titled album. Interest tune, cool
trading between Wynton and Branford.
--------------
Marc Sabatella
ma...@outsideshore.com
JUST RELEASED - Check out my latest CD, "Falling Grace"!
Plus "A Jazz Improvisation Primer", sound clips, scores, & more:
http://www.outsideshore.com/
Marc Sabatella
> I don't know who wrote The Theme, but
> I know it wasn't Miles, even if he did put his name on it. Perhaps
> Monk deserves more credit for it, but my impression is that it was
> already part of the vocabulary before Monk even got to it.
It's worth noting that there are at least two different compositions
known as "The Theme", aside from Monk's "52nd Street Theme". One was
Miles Davis' theme, one was Art Blakey's (I believe) theme. All of
these seem to be variations on rhythm changes.
The one I associate with Miles - found on "Workin' With The Miles Davis
Quintet" plus live dates such the "My Funny Valentine" / "Four & More"
concert, the "Plugged Nickel" dates, and presumably others - has a very
simple melody that starts by alternating between the two notes a third
apart (the flatted third and the root of the I chord?) in a rhythm of
two eighths, a quarter, and a long held note. Something like the rhythm
of the phrase "play the Miles theme". The rest of the melody was
equally simple. The bridge usually began with a big upward gliss,
leading into a solo by the pianist. I can't say that I've ever heard
anyone else play this.
The one that I've heard was Art Blakey's (not that I've ever heard
recorded evidence of this, and the one or two times I saw him live I
don't remember much about) has a melody that sounds like a rhythmically
sputtering version of the "Take The 'A' Train Ending". It seems that
most musicians know this, and many use it as a set closer. I've played
it countless times, but never heard a recording of it.
"52nd Street Theme" was on the very first jazz album I ever bought -
Oscar Peterson at Newport with his trio plus various guests in the
mid-50's, but aside from the original Monk recording, I don't hear this
one used much either on recordings or live.
Edwin Daudrich
Steve Mack wrote:
> Edwin Daudrich wrote:
>
> > Who are Good bait and The theme by?
>
> Don't know about Good Bait, but The Theme's by Miles Davis. And by the way,
> let's add Monk's 52nd Street Theme to the list, as well as the original rhythm
> changes tune I Got Rhythm.
>
> --
> Smack
>
> "Good jazz is when the leader jumps on the piano, waves his arms, and yells.
> Fine jazz is when a tenorman lifts his foot in the air. Great jazz is when he
> heaves a piercing note for 32 bars and collapses on his hands and knees. A
> pure genius of jazz is manifested when he and the rest of the orchestra run
> around the room while the rhythm section grimaces and dances around their
> instruments." -Charles Mingus
MAN THAT"S the greatest quote I've ever seen. I love mingus. YAAAAAAA!!!!!!!
Adam
Luke Kaven
52nd St Theme. A lot of tunes use iii-vi-ii-V7, and then modulate to the
subdominant somewhere around bar 5 of the A section, but that doesn't make
the changes Rhythm changes. The changes to "Just You, Just Me" have this
sound, but nobody would suggest that Monk's Evidence is based on Rhythm
changes.
Sam Smiley <dolp...@hotmail.com> wrote in message
news:8jd5b4$lie$1...@news.wmich.edu...
> > Several of the Parker things are available in the Omnibook, of course.
> > Thriving, Anthropology, etc.
>
> They are the same tune.
>
> Also check out "What Do You Want?" by Pat Metheny on his new cd. Other
> tunes:
> Rhythm-a-Ning
> Good Bait
> The Theme
> Webb City (Bud Powell)
> I think Parisian Thouroughfair is one too also by Bud Powell.
>
Adam Bravo
wouldn't say "Move" was rhythm either, because of the big differences, such
as the chords are nothing like rhythm changes, except the bridge.
Marc Sabatella
> Good Bait _certainly_ isn't on Rhythm changes, and to my ears, neither
is
> 52nd St Theme. A lot of tunes use iii-vi-ii-V7, and then modulate to
the
> subdominant somewhere around bar 5 of the A section, but that doesn't
make
> the changes Rhythm changes.
I'd say it does - for the A-section, anyhow. What else do you require?
Obviously, the bridge to Good Bait differs, though, so I wouldn't say
that as a whole the tune is a "rhythm changes" tune. I don't really
remember a bridge to 52nd Street Theme, so I can't say about that, and
there is also the matter of the sideslip up on the A-section, but I'd
consider that within the realm of substitutions on the rhythm changes
model.
> The changes to "Just You, Just Me" have this
> sound, but nobody would suggest that Monk's Evidence is based > on
Rhythm
> changes.
Again, I'd say the A-section is, for whatever that is worth. The bridge
is more like the "Honeysuckle Rose" bridge so on the whole I wouldn't
classify either of these tunes as rhythm changes. Still, it is worth
noting the connection.
On the other hand, Parisian Thoroughfare, mentioned in the post to which
you were responding, is different enough in the A-section as well as the
bridge that I wouldn't be inclined to mention it at all in this context.
Boerge Soleng
>Also check out "What Do You Want?" by Pat Metheny on his new cd.
Ornette Coleman's "Rejoicing" (also played by Pat Metheny on his album
"Rejoicing") is based on rythm changes.
Boerge Soleng, boe...@vinn.no
__________________________________________________________________
"Nice touch!" (Miles Davis about Herbie Hancock)
Adam Bravo
> I don't really remember a bridge to 52nd Street Theme, so I can't say
about that, and
> there is also the matter of the sideslip up on the A-section, but I'd
> consider that within the realm of substitutions on the rhythm changes
> model.
like one.
Bruce LeClaire
Here's a trip back to 1949, with a couple of excerpts from Feather's
"Inside Jazz" (aka "Inside Be-bop"):
<quote>
Next to the blues, the most widely used chord formation for a bebop
peice is undoubtedly that of "I Got Rhythm". In fact, it is hardly fair
to refer to it by this title, since George Gershwin did not invent the
tonic chord, and the chord sequence in question is virtually built
around this single chord for 24 of its 32 bars, thus
|| Bb | C-7 F7 | Bb | C-7 F7 |
| Bb | C-7 F7 | Bb F7 | Bb ||
This eight-bar phrase is repeated twice, then comes the release (also
known as the bridge, or channel, or middle eight), and then comes a
repeat of the first eight bars. The commonest release, used in the
original "I Got Rhythm", consists of two bars each of D7, G7, C7 and
F7. Often the first two chords are Bb7 and Eb, follwed by C7 and F7.
This pattern, known among modern musicians simply as "rhythm", is
indigenous to all jazz and still obtains, with variations and
complications, as a basis for innumerable bebop workds, many of them so
intricate melodically that it's hard to believe they started out as
variations of "I Got Rhythm". Indeed, it would be fairer to say that
they didn't start out that way, since no musician has the melody of "I
Got Rhythm" in mind when he constructs his own theme or improvisation.
He merely has in mind the chord pattern, beyond which everything is his
own invention.
This formula has been used for such well known bop tunes as "Shaw
'Nuff", "Anthropology", "52nd Street Theme".
</quote>
Feather also has a table of songs and the chords they're based on.
Someday I might post all of it, for right now let me pick a couple of
the more notables...
Title Recorded By On Source
-------------------------------------------------------------------------
Little Willie Leaps Miles Savoy All God's
Children
Got Rhythm
Suburban Eyes Monk BlueNote (ditto)
Lester Blows Again Lestor Aladdin Honeysuckle Rose
Five Zillion Numbers Everybody All Labels I Got Rhythm
Evidence Monk Blue Note Just You, Just Me
Spotlite Hawk Victor (ditto)
Hot House Diz Musicraft What Is This Thing
Called Love?
Groovin' High Diz Musicraft Whispering
Stompy Hawkins Signature (ditto)
Of course I left off all the well known Parker melodies like Ko-Ko
(Cherokee), Bird Lore & Ornithology (How High the Moon), Donna Lee
(Indiana), Bird Gets the Worm (Lover Come Back to Me), and Stupendous
('S Wonderful).
Cheers,
--Bruce