Lines

So here is the second of three chord melodies. 

I have the pdf and I have the MalletKat version. You can hear basically what's happening with the sheet music. 

I think you can get a lot out of this. You have to know the chords and inversions really well. I think when I just play the lines it makes sense and you here the harmony. That's the goal right. I will post my own version of stella asap. 

In this section, we continue with the F#7–B7–E7–A7–D7–G7–C7–F7 progression in measures 1-4, but with a simplified rhythmic approach. Rather than relying on continuous eighth-note lines, this version demonstrates how to outline the changes effectively with more space and varied rhythmic phrasing.

Expanding Vocabulary Over the A Section

Continuing our exploration of rhythm changes, this lesson focuses on another set of substitute chord changes for the A section. While the general framework remains the same, this version features a different set of passing dominant chords, adding more forward motion to the progression. The focus here is the first A section, which you can tell by the turnaround in the last two measures.

Just some stuff to think about with double sticking as well as a way to practice double sticking. 

i do feel that we want to do as much alternate sticking as we can. I know some disagree including David Friedman. So take it for what it's worth to you. But I give you some ways to work on double sticking.

Expanding Vocabulary Over the Second A Section

In previous lessons, we explored the bridge of rhythm changes and how to apply those concepts to other tunes. We also examined one possible approach to the first A section, demonstrating how its harmonic movement reflects countless other standards. Now, let’s build on that by focusing on the second A section, incorporating some different harmonic choices and melodic vocabulary.

In previous lessons, we analyzed the bridge of rhythm changes and explored how to apply those ideas to other tunes. However, the A sections are just as important, as they follow common harmonic movements found in many standards. By practicing rhythm changes, you're effectively preparing yourself for countless other tunes.

In a recent lesson, I worked with a student on applying modal concepts to one of my original compositions, Mindful Moments. As in our previous lesson, we focused on incorporating dominant bebop harmony within a modal framework. While understanding modes is essential, embellishing them with dominant bebop vocabulary adds depth and character to modal playing—something that can be heard in the improvisation of the jazz greats.

I recently had a lesson with a student where we focused on playing in modal settings. One key point I always emphasize is the value of incorporating dominant bebop harmony, even within a modal framework. While understanding modes is, of course, essential, embellishing them with dominant bebop vocabulary adds depth and character to modal playing—something that can be heard in the improvisation of the jazz greats.

Lesson: Inverse Diminished Lines Over the Bridge of Rhythm Changes (Part 2)

In this second part of the lesson, we’re continuing to explore the bridge of rhythm changes with a new twist on the diminished pattern from the previous exercise. In this version, the diminished line is inverted, offering a fresh approach to navigating ii-V lines over the bridge.

I'm a big fan of practicing the bridge of rhythm changes. The harmonic movement in fourths is common in many tunes, making this a valuable exercise for improving your ability to navigate various progressions.