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 . . . . . . . .3Harmonic Analysis . . . . . . . . . . . . . . . . . .5 . . . . . . . .3

Substitute Changes . . . . . . . . . . .5 . . . . . . . .4Suggested Fingering 7 . . . . . . . .4

Example 1 7 4

Jnit Two: Shape 1 8. Moretuningnotes. . . . . . . . . . . . . . . . . . . . . . . . . .5Intro to Unit 2 6

Shape 1 8

Example 2 10 . . . . . . . .7Example 3 .10 . . . . . . . .8

Example 4 10 . . . . . . . .9

Example 5 .11 10Example 6 """""""""" .11 .11

InitThree: Shape 2 .12

Example 7 .13 . . . . . . .12

Example 8 .14 . . . . . . .13Example 9 .14 . . . . . . .14

Example 10 .15 . . . . . . .15nit Four: Shape 3 .16

Example 11 .17 . . . . . . .16

Example 12 """"""""'" .18 . . . . . . .17

Example 13 .18 . . . . . . .18'lit Five: Combining the Shapes .19

Example 14 .19 . . . . . . .19

Example 15 """"""""'" .20 . . . . . . .20

Example 16 .20 . . . . . . .21

L

:'; .

Jf.erbcllisl~~?;RHYTHMSHAPI:S

CONTENTS Page # CDTrack

Example 17 .21 .22

Example 18 .22 . . . . . . .23

j Example 19 .22 . . . . . . .24Example 20 .23 . . . . . . .25

Example 21 .24 . . . . . . .26Example 22 .24 . . . . . . .27

Example 23 .25 .'. . . . . .28Exampte 24 .26 . . . . . . .29

Example 25 , .26 . . . . . . .30

Example 26 .27 . . . . . . .31

Example 27 , .28 . . . . . . .32Example 28 .28 . . . . . . .33

Unít Six: The Bridge. . . . . . . . . . . . . . . . . . .29Example 29 , .31 .34

Example 30 ,. .31 .35

Example 31 .32 . . . . . . .36

Example 32 .32 . . . . . . .37Example 33 , .33 .. . . . . .38

Example 34 .34 . . . . . . .39

Example 35 .34 . . . . . . .40Example 36 .35 . . . . . . .41

Example 37 .36 . . . . . . .42Example 38 ,.. .37 .,. . . . .43

Example 39 , .37 . . . . . . .44Example 40 .38 .,.. . . .45Example 41 .39 . . . . . . .46

Unit Seven: Combining the Concepts

(Entire Solos) 40Solo 1 , .40 .. . . . . .47

Solo 2 .42 .. . . . . .48

Appendix 44

Transcriptions and additional text byHARRYHESS

Gibson Herb Ellis Model guitar courtesy 01Paul Jankowski at Gibson Guitars

@ 1996 WARNER BROS. PUBLlCATIONSAlI Rights Reserved

Editors: Caigan Bryan. Aaron StangTechnical Editor: Glyn Dryhurst

Art Design: Joseph KlucarEngraving: Andrew Parks

Any duplication. adaptation or arrangement 01!he compasitions containedin this collection requires !he written censent 01!he Publisher.

No part 01Ihis book may be photocopied ()( reproducedin any way without permission.

Unauthonzed uses are an infringemenl 01lheU.S. Copyrigh1Ar;tano are punishable by law

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 guitarists make of underestimating the value of

me accompaniment as an effective source for building solos. Until you have a strong understanding and feel

fa, rhe chord progression, 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 to as the A section, and the eight

bar bridge as the B section. So the 32 bar verse can be summarized as two eight bar segments arranged in atraditional AABA formato

Basic Changes:

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.810, 333

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.6f'1J 33

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Bb 13 Eb

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xx

\1171<CJ113

F7

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x )( x x

1151, .31<2 143 2 333

Bb6 Gm7' , ,l' l'"

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[1.)( x x x

115f' 1171'2 t 43 2134

Bb6 F9

l' , l' ,l' l' l' r

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118f' 1171'2 333 2134

Cm7 F9

l

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1151,2 143

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