Watch the video lesson from the book
Rhythm Changes in 12 Keys is Book II in the " Constructing
Walking Jazz Bass Lines " series for the Double Bassist and Electric
Jazz Bassist.
Rhythm Changes in 12 Keys compliments Book I " The Blues in
12 Keys " by following on with an in depth study of " must know "
Jazz chord progressions for the aspiring Jazz Bassist.
Rhythm Changes in 12 Keys is a complete guide demonstrating the
devices used to construct walking jazz bass lines in the jazz tradition.
Part 1 of the book outlines and demonstrates the various
techniques used by professional Jazz Bassists to provide forward
motion and a strong harmonic and rhythmic foundation into bass
lines.
All exercises are designed to give the Double Bassist and Electric
Bassist strong jazz bass lines in the bottom register of the instrument.
An additional bonus for the Double Bassist, Part 1 provides a
complete study of Bb Rhythm Changes whilst in the first position.
This is an excellent technical study for building strength, improving
intonation and being able to walk strong bass lines at increased
tempos in the bottom register of the instrument.
Part 2 expands on the lessons and techniques used in Part 1
providing the aspiring Jazz Bassist with the previous devices used in
professional level bass lines in all 12 keys. Providing over 70 choruses
of Rhythm Changes in all 12 keys using the whole register of the
instrument. In total there are over 100 choruses of Rhythm Changes
included in Part I and Part II of this book.
There are many advanced principles applied in the following bass
lines whilst never losing sight of the functioning principle of the bass
in the jazz idiom. To provide a strong foundation of rhythm and
harmony for the music being played & providing support for the
melody and or soloist.
TABLE OF CONTENTS
Part 1 Rhythm Changes ..............................................................
The AABA Form .......................................................................
The AABA Structure in Digital Form ........................................
Diatonic 7ths in the key of Bb major .................................. .......
The "2" feel ................................................................................
Embellishing the "2" feel ...........................................................
The Dominant 7th chord ...........................................................
Chromatic approach from below ...............................................
Chromatic approach from above ................................................
Chromaticism and the walk up
and the walk down .....................................................................
Repeated notes and chromaticism ..............................................
Harmonic anticipation and
playing across the bar line ..........................................................
Voice leading and 7th chords .....................................................
Pedal points ................................................................................
Tri-Tone substitution .................................................................
Expanding on the use of Tri-Tone substitution ...........................
The Turnaround ...........................................................................
Turnarounds and the AABA Form .............................................
Rhythm Changes the "A" section progressions ...........................
Rhythm Changes the Bridge ......................................................
Secondary Dominant Chords ......................................................
Rhythm Changes the Bridge chord substitutions ........................
Part 2 Rhythm Changes in 12 Keys .......................................
Rhythm Changes in Bb ...........................................................
Rhythm Changes in B .............................................................
Rhythm Changes in C .............................................................
Rhythm Changes in Db ...........................................................
Rhythm Changes in D .............................................................
Rhythm Changes in Eb ...........................................................
Rhythm Changes in E .............................................................
Rhythm Changes in F ..............................................................
Rhythm Changes in Gb ...........................................................
Rhythm Changes in G .............................................................
Rhtyhm Changes in Ab ...........................................................
Rhythm Changes in A .............................................................
In Conclusion ..........................................................................
RHYTHM CHANGES
Rhythm Changes like the " Blues " is an essential part of the Jazz
musicians vocabulary.
The following chapters provide various insights into how the Rhythm
Changes song form may be approached.
It is essential for the aspiring bassist to learn the following material
in all 12 keys as layed out in the following chapters. It is then
advised that the student take the various lines and devices and build
their own bass lines by substituting various A section or B section
bass lines from the examples within.
Write the lines out on manuscript.
This will enable the student to compose and hear their own bass
melodies and to accelerate the process of becoming a Jazz Bassist in
their own right.
It is essential for the Jazz Bassist to have a strong understanding
of the harmony of the music being played, a solid rhythmic
foundation but most importantly to have their own sound and
identity.
Enjoy the book.
Customer Reviews
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| Most Helpful Customer Reviews Highly Recommended Jazz Bass Series,
This review is from: Constructing Walking Jazz Bass Lines, Book 1: Walking Bass Lines-
The Blues in 12 Keys Upright Bass and Electric Bass Method (Paperback)
Recommending both Book 1 (The Blues in 12 Keys) and Book 2 (Rhythm Changes in 12 Keys) as a pair for building a firm foundation in
learning how to play Jazz bass lines:
The 12-bar blues and "Rhythm" changes (coming from "I Got Rhythm") are two of the fundamental building-block progressions in Jazz. Together,
they form a basis for understanding much of Jazz. These progressions, or
portions of them, are used again-and-again throughout the Jazz repertoire.
Yet, it is nice that so many variations are given on the basic A-part of the
Rhythm Changes progression, since that is the way it really gets played:
not just the same lines repeated over-and-over.
I am particularly pleased that all the examples are completely written-out note-for-note; whereas in many books by other authors, an example will
be given in one key with the other keys being left up to the student to
figure-out! I always found that to be extremely frustrating.
Writing-out all the bass lines instead of just the chord symbols lets the student learn the actual melodic motion of bass lines in the way that
they are really used. The use of scale-type phrases, chromatic lines,
occasional wide interval leaps, and rhythmic variations
(such as quarter-note triplets and dotted-eighth/sixteenth notes) ...in full
context... really puts it all in proper perspective. It shows how those
devices are actually used! That's the stuff people learn-from through
specific examples! Then once the student becomes familiar with it all
and gets the hang of it, he or she should be able to call on these ideas in
increasingly improvisational and hence musical ways.
The books will be very useful in learning these specifically important Jazz progressions in every key, which practically every Jazz teacher tells me I
should do! Many years of Jazz music-theory training gives me enough
insight to recognize that the given examples will be very useful tools in
gaining a good grasp of the melodic nature of walking bass lines.
Additionally, the appearance and lay-out are comfortable to look-at,
which makes it all easier to read; and I like the Jazz fonts!
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