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.
Check out the attached PDF!
Check out the attached PDF!
Here is part 2 of chordal playing.
It's playing in 3rds. Someting I like to do. The trick is to learn what you can and can not do with this, because you can't do everything. So you learn rythyms and phrases that you can do and try to stick around that.
Here's another sort of technique. I just call this Bill Evans Style. I'm sure all pianists do it but I noticed it listening to him.
Here is a lesson with an etude. I use the tune Green Dolphin Street and I play a chordal solo. There's very little that monophonic here. I tried to hit always with 2,3 or 4 mallets.
I played a few choruses of Green Dolphin Street and transcibed it.
I also talk about little bit about this series. I will continue it by doing a video for each of the technical ways I am doing this.
Check out the transcription below.