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RHYTHMSHAPI:S

CONTENTS

page # CDTrack

Introduction. . . . . . . . . . . . . .'. . . . . . . . . . . . .2 . . . . . . . .1
Foreword

Tuning Notes. . . . '," . . . . . . . . . . . . . . . . . . . . . . . . . . . .2


Unt One: Rhythm Cha"~"\s
. . . . . . . . .4 . . . . . . . .3
Analysis of Rh.ythm Ghanges . . . . . . . . . .4 . . . . . . . .3
Rhythm Changes Structure
4 . . . . . . . .3
Harmonic Analysis . . . . . . . . . . . . . . . . . .5 . . . . . . . .3
Substitute Changes
. . . . . . . . . . .5 . . . . . . . .4
Suggested Fingering
7 . . . . . . . .4
Example 1
7
4
Jnit Two: Shape 1
8
.

Moretuning notes. . . . . . . . . . . . . . . . . . . . . . . . . .5
Intro to Unit 2

Shape 1
Example 2
Example 3
Example 4
Example 5
Example 6 """"""""""
InitThree: Shape 2
Example 7
Example 8
Example 9
Example 10
nit Four: Shape 3
Example 11
Example 12 """"""""'"
Example 13
'lit Five: Combining the Shapes
Example 14
Example 15 """"""""'"
Example 16

6
8
10
.10
10
.11
.11
.12
.13
.14
.14
.15
.16
.17
.18
.18
.19
.19
.20
.20

. . . . . . . .7
. . . . . . . .8
. . . . . . . .9
10
.11
.
.
.
.

.
.
.
.

. . . . .12
. . . . .13
. . . . .14
. . . . .15

. . . . . . .16
. . . . . . .17
. . . . . . .18
. . . . . . .19
. . . . . . .20
. . . . . . .21

CONTENTS

Page # CDTrack

Example 17
Example 18

.21
.22
.22 . . . . . . .23

j Example 19
.22 . . . . . . .24
Example 20
.23 . . . . . . .25
Example 21
.24 . . . . . . .26
Example 22
.24 . . . . . . .27
Example 23
.25 .'. . . . . .28
Exampte 24
.26 . . . . . . .29
Example 25
,
.26 . . . . . . .30
Example 26
.27 . . . . . . .31
Example 27
,
.28 . . . . . . .32
Example 28
.28 . . . . . . .33
Unt Six: The Bridge. . . . . . . . . . . . . . . . . . .29
Example 29
,
.31
.34
Example 30
,. .31
.35
Example 31
.32 . . . . . . .36
Example 32
.32 . . . . . . .37
Example 33
,
.33 .. . . . . .38
Example 34
.34 . . . . . . .39
Example 35
.34 . . . . . . .40
Example 36
.35 . . . . . . .41
Example 37
.36 . . . . . . .42
Example 38
,.. .37 .,. . . . .43
Example 39
,
.37 . . . . . . .44
Example 40
.38 .,.. . . .45
Example 41
.39 . . . . . . .46
Unit Seven: Combining the Concepts
(Entire Solos)
40
Solo 1
,
.40 .. . . . . .47
Solo 2
.42 .. . . . . .48
Appendix

44

Transcriptions and additional text by


HARRYHESS
Gibson

Herb Ellis Model guitar courtesy 01


Paul Jankowski at Gibson Guitars

@ 1996 WARNER BROS. PUBLlCATIONS


AlI Rights Reserved
Editors: Caigan Bryan. Aaron Stang
Technical Editor: Glyn Dryhurst
Art Design: Joseph Klucar
Engraving: Andrew Parks
Any duplication. adaptation or arrangement 01!he compasitions contained
in this collection requires !he written censent 01!he Publisher.
No part 01Ihis book may be photocopied ()( reproduced
in any way without permission.
Unauthonzed uses are an infringemenl 01lhe
U.S. Copyrigh1 Ar;t ano are punishable by law

UNIT OME: RHYTHM CHANGES


.

ANALYSIS OF "RHVTHM CHANGES"


00 not jump ancad w ::he fol!ow!ng chapt.;ers untit you have tho!'Oughly and!yzed this progre3sion and can play it
smoothiy

Avoid the common mistake that many inexperienced

me accompaniment

guitarists

make of underestimating

the value of

as an effective source for building solos. Until you have a strong understanding

fa, rhe chord progression,

and feel

you wil! needlessly struggle to coJe up with strong solos for it.

Ir is important to point out that accompanying other soloists properly is a valuable skill that wil/ expand your
performance

and work opportunities.

What player doesn't like to be associated

with musiciafi5 that compliment

his or her own playing? If you are a great soloist but lack the ability to comp effectively. you are not going to
impress or motiva te many players to cal! you again.

RHYTHM CHANGES STRUCTURE


"Rhythm Changes" is 32 bars long. The first eight bar phrase is piayed twice, followed by an eight bar bridge
and then a return to the first eight bars. The first eight bars can be referred
bar bridge as the B section. So the 32 bar verse can be summarized
traditional AABA formato

Basic

to as the A section, and the eight

as two eight bar segments

.5f'
1 143

.3h
2 33 3

Gm7

213'

Cm7

Vt

1151,
2 143

.7['

.810
, 333

,
l'

.ff'
2134

86f'
I 234

.6f'
1J 33

Bb 13

1171'
2134
F9

,
l'

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l'

l'

l'

l'

l'

-eTt
-LL

[ii

)(

~~/
B,

l'
l'

F9
l'

l'

Bb6

l'

,,

l'

l'

l'

'.':I

Elf'
1 243

<1I'f'

.5r,

1> 3

(2)21 3

G7

@] D7
~- F9

1151,
2 143

1171'
2134

Bb6

)(

11510
11710
, 10
'134

:.~! b
~

Ebm7

115f'
2 t 43

.6f'
1311

Eb

[2.)(

)(

)(

Cm7

,
l'

118f'
2 333

Gm7

"'

.31<
2 333

Bb6

F9

)(

[1.

in a

Changes:
x

-'

arranged

B.6

~'

,, ~ ~

:2:

xx

ii~f~
O"' . . "

o~

\1171<
CJ113

=:z

F7

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~

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