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RHYTHMSHAPI:S
CONTENTS
page # CDTrack
Introduction. . . . . . . . . . . . . .'. . . . . . . . . . . . .2 . . . . . . . .1 Foreword
3
Tuning Notes. . . . '," . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 Unít One: Rhythm Cha"~"\s . . . . . . . . .4 . . . . . . . .3 Analysis of Rh.ythm Ghanges . . . . . . . . . .4 . . . . . . . .3 Rhythm Changes Structure 4 . . . . . . . .3 Harmonic Analysis . . . . . . . . . . . . . . . . . .5 . . . . . . . .3 Substitute Changes . . . . . . . . . . .5 . . . . . . . .4 Suggested Fingering 7 . . . . . . . .4 Example 1 7 4 Jnit Two: Shape 1 8 .
Moretuning notes. . . . . . . . . . . . . . . . . . . . . . . . . .5 Intro to Unit 2
Shape 1 Example 2 Example 3 Example 4 Example 5 Example 6 """""""""" InitThree: Shape 2 Example 7 Example 8 Example 9 Example 10 nit Four: Shape 3 Example 11 Example 12 """"""""'" Example 13 'lit Five: Combining the Shapes Example 14 Example 15 """"""""'" Example 16
6 8 10 .10 10 .11 .11 .12 .13 .14 .14 .15 .16 .17 .18 .18 .19 .19 .20 .20
. . . . . . . .7 . . . . . . . .8 . . . . . . . .9 10 .11 . . . .
. . . .
. . . . .12 . . . . .13 . . . . .14 . . . . .15
. . . . . . .16 . . . . . . .17 . . . . . . .18 . . . . . . .19 . . . . . . .20 . . . . . . .21
CONTENTS
Page # CDTrack
Example 17 Example 18
.21 .22 .22 . . . . . . .23
j Example 19 .22 . . . . . . .24 Example 20 .23 . . . . . . .25 Example 21 .24 . . . . . . .26 Example 22 .24 . . . . . . .27 Example 23 .25 .'. . . . . .28 Exampte 24 .26 . . . . . . .29 Example 25 , .26 . . . . . . .30 Example 26 .27 . . . . . . .31 Example 27 , .28 . . . . . . .32 Example 28 .28 . . . . . . .33 Unít Six: The Bridge. . . . . . . . . . . . . . . . . . .29 Example 29 , .31 .34 Example 30 ,. .31 .35 Example 31 .32 . . . . . . .36 Example 32 .32 . . . . . . .37 Example 33 , .33 .. . . . . .38 Example 34 .34 . . . . . . .39 Example 35 .34 . . . . . . .40 Example 36 .35 . . . . . . .41 Example 37 .36 . . . . . . .42 Example 38 ,.. .37 .,. . . . .43 Example 39 , .37 . . . . . . .44 Example 40 .38 .,.. . . .45 Example 41 .39 . . . . . . .46 Unit Seven: Combining the Concepts (Entire Solos) 40 Solo 1 , .40 .. . . . . .47 Solo 2 .42 .. . . . . .48 Appendix
44
Transcriptions and additional text by HARRYHESS Gibson
Herb Ellis Model guitar courtesy 01 Paul Jankowski at Gibson Guitars
@ 1996 WARNER BROS. PUBLlCATIONS AlI Rights Reserved Editors: Caigan Bryan. Aaron Stang Technical Editor: Glyn Dryhurst Art Design: Joseph Klucar Engraving: Andrew Parks Any duplication. adaptation or arrangement 01!he compasitions contained in this collection requires !he written censent 01!he Publisher. No part 01Ihis book may be photocopied ()( reproduced in any way without permission. Unauthonzed uses are an infringemenl 01lhe U.S. Copyrigh1 Ar;t ano are punishable by law
L
UNIT OME: RHYTHM CHANGES .
ANALYSIS OF "RHVTHM CHANGES" 00 not jump ancad w ::he fol!ow!ng chapt.;ers untit you have tho!'Oughly and!yzed this progre3sion and can play it smoothiy
Avoid the common mistake that many inexperienced
me accompaniment
guitarists
make of underestimating
the value of
as an effective source for building solos. Until you have a strong understanding
fa, rhe chord progression,
and feel
you wil! needlessly struggle to coJ¡e up with strong solos for it.
Ir is important to point out that accompanying other soloists properly is a valuable skill that wil/ expand your performance
and work opportunities.
What player doesn't like to be associated
with musiciafi5 that compliment
his or her own playing? If you are a great soloist but lack the ability to comp effectively. you are not going to impress or motiva te many players to cal! you again.
RHYTHM CHANGES STRUCTURE "Rhythm Changes" is 32 bars long. The first eight bar phrase is piayed twice, followed by an eight bar bridge and then a return to the first eight bars. The first eight bars can be referred bar bridge as the B section. So the 32 bar verse can be summarized traditional AABA formato
Basic
to as the A section, and the eight
as two eight bar segments
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