When I think Rhythm Changes, I instantly think Parker. Here are some videos of Bird over the form. Note his contrasts. He does an amazing job of switching from harmonic generalization (Bb triad or blues material) to harmonic specificity (hitting chord tones of the changes). Also, as always, his phrasing is fresh and unpredictable. With Rhythm Changes everyone is chasing the bird.

Here's a solo etude on rhythm changes based upon the use of four note groupings.

Man, it's the end of the semester here. I'm working my ass off between gigs, students, classes and setting up my summer.

Musicians HAVE to think at least one season ahead. It's spring and if it isn't happening it probably won't. Get to summer. I bet the heavy cats are thinking 2 seasons or a year ahead. OK.

Anyway, let me officially announce we are working on Rhythm changes now. This is our tune of the month, officially.

So, why don't you guys blog about rhythm changes. What do you want to know? What do you think about??

Been working on this tune again over the past couple of weeks,the goal being to improve my playing overall on chords and solo. This was the one I chose after a lot of takes. I think its important to keep going back over tunes and hear if there are improvements Will let you decide.

Hi All-

My motor troubles have had me thinking about that aspect of the instrument; been wondering what it means to YOU.

It's a funny thing; one of the last truly mechanical effects being used in contemporary music; that and the B3 with a Leslie are the only ones I can think of.

This is in my apartment in Columbia, South Carolina. I practice every day looking out onto the beautiful horse shoe, which is the historic part of the USC campus.

Guys, here's a version of Ellington's Take The A Train. A Train is one of those tunes that can sound cheesey if you play too diatonic and "in". The changes are fairly diatonic, so if you just play chord tones and diatonic scales, it will sound pretty in. There are some techniques that we can use to venture out of the tonal area of the changes. Here are some ideas:

Improv techniques to get out of the key:

Leaning on chromatic approach notes to target notes (G# to A on C6)
Leaning on tensions (especially altered tensions on Dom 7 chords)