Vibraphone

Rhythm Changes Harmonic Vocabulary - Part 4

In this fourth installment of our rhythm changes harmonic vocabulary series, we continue to develop both rhythmic and harmonic fluency over the first A section. While the rhythmic pattern remains consistent with Part 3 in the first four measures, this lesson introduces new voicings and inversions that shift the color and register of the progression.

'Andrea's Piece' for Solo Vibraphone was composed in April 2025 by Franz Bauer. 

Rhythm Changes Harmonic Vocabulary – Part 3: Exploring Further Harmonic Detail

In this third installment of our rhythm changes harmonic vocabulary series, we continue to deepen our approach to both harmony and rhythm within the first A section. This lesson blends familiar elements with new twists, helping you refine your sense of phrasing while introducing a few sophisticated harmonic choices.

Rhythmic Overview

Great set with Red Norvo. Check out how far he chokes up on the mallets! 

Part 2: Exploring Articulation and Harmonic Detail
In this second lesson on rhythm changes harmonic vocabulary, we shift our focus to articulation and rhythmic variety within the first A section. The exercise begins by introducing the classic Charleston rhythm in the first four measures—a foundational comping figure that adds a strong sense of groove and forward momentum.

I know this is up on the site, but why not put it up again since it's Mainieri!! 

He's playing solo 3 days after 9/11 because the rest of his band couldn't fly. Good for us! 

This vid is very cool.

Rhythm Changes - Harmonic Vocabulary on the A Pt. 1

In this series, we’ll explore harmonic vocabulary for comping over the A sections of rhythm changes. In Pt. 1, we start with a common and widely used set of standard changes, providing a strong foundation for comping.

One key concept in this approach is treating the top note of each chord as a melodic line—essentially harmonizing a simple, stepwise motion. This helps create a natural, connected flow between voicings rather than thinking of each chord in isolation.

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.

So..... 

Someone (not me) submitted this recording of David and I playing at PASIC in 2018 as a favorite cd (but it's not a CD). While it's not a traditional CD, it's a full-length performance, and I'm featured on it. I initially felt a bit awkward highlighting my own work, but I believe there's a valuable learning opportunity here.