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For anyone thats learning how to play jazz guitar, you will have heard of, practiced or even performed a tune based on the chords to George Gershwins classic standard Ive Got Rhythm. The chord changes to this tune have served as the basis for many of the classic jazz heads that we still play to this day, including Oleo, Anthropology and Rhythm-a-Ning. Used so often by jazz musicians over the years, these chords are now often referred to as simply Rhythm Changes, and are most often played in the keys of Bb and F, though some tunes do venture outside these two tonal centers. When learning to solo over Rhythm Changes, one of the toughest obstacles that many jazz guitarists face is how to approach the Dominant Cycle, D7-G7-C7-F7 in Bb for example, which make up the chords to the B section of the tune. In todays lesson, well be looking at 5 different approaches that you can apply to your soloing over the bridge to Rhythm Changes, ranging from diatonic scales and arpeggios to tritone subs and tritone ii-V subs. Check these ideas out in the practice room and see how quickly they can take your Rhythm Changes solos to the next level of interest and engagement as you continue your exploration of these important chords and this important jazz standard.
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So you can see that both scales are essentially the same, BUT, the Bebop Scale has that extra chromatic note added that gives it that tension-release sound that is essential to bringing a Bebop flavor into your lines. In the exercise below, Ive used the Dominant Bebop Scale over each chord, pairing it up with an ascending arpeggio for each change in the progression. Playing an arpeggios up and the Bebop Scale down is a technique used by many great Bebop influenced players such as Pat Martino, Wes Montgomery and of course Charlie Parker. Try working this exercise with a metronome as written, and then take the arpeggio up and scale down approach to different fingerings and areas of the next for each arpeggio and Dominant Bebop Scale in the progression. Then put on a backing track of the bridge to rhythm changes and improvise over those chords using only the ascending arpeggio and descending Bebop Scale to see how these ideas sound in a practical, musical situation.
Further Reading The Dominant Bebop Scale for Guitar The Complete Guide to Bebop Scales and Their Application 21 Bebop Scale Patterns for Jazz Guitar
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Grab the root of the chord you are using on the 5th string, so for D7 it would be on the 5th fret of the 5th string. Then, stay on that fret but go one string lower, to the 5th fret of the 6th string, and that is your related iim7 chord, Am7 in this case.
Continue this formula for all of the chords in the bridge to Rhythm Changes and you now have each iim7 chord paired up with each V7 chord, as you can see in the example below where the first bar of each chord is the iim7 and the second bar of each chord is the V7. To continue our study of ascending arpeggio and descending Bebop Scales, Ive written out the iim7 arpeggio ascending over the first bar of each chord in the bridge, followed by the descending Dominant Bebop Scale in the second bar of the bridge. To accommodate the iim7 arpeggio, I have started the Dominant Bebop Scale on the root of the iim7 chord and descended from there. So, for the D7 chord at the start of this example, you can see the Am7 arpeggio ascending in bar 1, followed by the D Bebop Scale descending from the note A, the root of the iim7 chord, in bar 2. Not only will this give you an exercise to practice playing iim7-V7 outlines over the bridge to Rhythm Changes, but you are getting away from starting your Bebop Scale on the root all the time, which can become a bad habit for many of us as we fall back to the root for the start of all our scale lines when improvising. As always, work on this exercise with a metronome as written, and then take it to different fingerings and different areas of the neck.
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When you are comfortable with these arps and scales, put on a backing track and use them as the basis for your lines and phrases over the bridge to Rhythm Changes. Notice how the iim7 chord brings a new sonic texture to your ideas, but isnt outside the chord changes, just a different shade of the underlying progression.
Further Reading 5 Ways to Solo over ii V Chords for Guitar Break Open ii Vs With This 9-Note Scale Introduction to the Bebop Scale for Guitar
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Further Reading The Minor Bebop Scale for Jazz Guitar Jazz Guitar Legends Pat Martino Chord Superimposition vs. Chord Substitution for Guitar
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Further Reading Jazz Blues Tritone Substitution Tritone Sub Mixolydian Scale Pattern Modern Jazz Techniques: Tritone Division Soloing
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Further Reading What is Backcycling and How Can it Improve Your Jazz Guitar Solos Practicing Dominant Cycles to Become a Better Guitarist 3 Fun Ways to Add Tritone Subs to Your Jazz Guitar Solos
As you can see, there are a lot of different ways that you can approach the Dominant 7th chords that make up the bridge to any Rhythm Changes tune. Check these ideas out in the practice room, see which ones work for you and that you want to keep in your repertoire and which ones youll come back to later on as they dont jive with your ears/tastes at this moment in your development.
If you liked this lesson, have a question regarding any of these concepts or just want to connect with other jazz guitarists on the web, head on over to the Matt Warnock Guitar Facebook Page and share your thoughts and comments on this lesson on the wall.
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