You absolutely can play all of those substitutions and more without altering the accompaniment. It will sound"out", but that is the point. There is a video of Mike Brecker here playing Oleo in '84 where he does just that, and Scofield playing Steeplechase in 2012 where he does something similar. Also check out Brecker playing Metheny's tune "What do you want" live with Metheny and you'll hear everything you could ever dream of in Rhythm Changes.
I prefer practicing the actual chords because its such an important learning tool for learning other standards. I also like a combinations of things when im performing it live, such as focusing on the parallell triads of Bb and Cm over the first four bars.
Great content! I think sometimes jazz educators have a tendency of "hiding" the fact that they are simplifying cyclic harmonies at fast tempo in their solos. But when you stop to analyze, yes, the greats do that all the time! That is, sometimes you'll get a better phrasing in your improvisation if you stick to one center instead of trying to chase every secondary dominant that fly by at an insanely high speed. Underlining every aspect of the harmony can also be interesting depending on your intention, it just doesn't have to be a rule.
Did someone pointed that UMMG is from Billy Strayhorn not Benny Golson???? I loved the “turning it all into Bb Dominant Diminished”! Gary Thomas does this as well… brilliant!!!
Cool! Thanks for sharing. Quick suggestion: You can get rid of the "elevator" music behind your explanations. It distracts the attention from the "meat" of the talk!
Hi Jackie, Thanks for your comment and appreciate your feedback! I like having some sort of music in the background, but I probably just had it too loud in this one. I’ll make sure to back it off for future videos! Have a great day!
Wow. Today I thought I could practice some rhythm changes and just 6 days ago this video was uploaded 😂 thanks for the video, it really helps my improvisation over the changes
@@NathanBortonMusic Only the 17th bar I don't understand why we can use Gmaj7/Hexatonic stuff...The chords substitute is very helpful,Thank you for you good Vid!!
you're really amazing man!! i was just wondering if you could do a video about using complex jazz voicing in other genres such as pop and rock? you may have done this type of video before but i always get stumped with it.
Hi Finbar! Thats a great question! I would check out David Binney or Adam Rogers for that kind of stuff! I'll give you a couple links: ruclips.net/video/BN6FO-OxGc4/видео.html ruclips.net/video/Rupa13bfWdY/видео.html
First of all Thanx for sharing your knowledge. I am new to your channel and I have to congratulate you on the quality of the material you share. I guess the background music is to make the atmosphere easier and more pleasant; however (also for me) since the channel deals with music and how to play it on/with guitar, I feel the music in background as a sort of "interference". However it is a minor detail and I want to thank you again for your dedication. Cheers from Italy
Hi Aeter! Thanks so much for your comment and feedback! Yes looks like I got some people saying the same things about the background music. Is it the style of the music or volume? I wasn’t in my studio when mixing this so I think I mixed it to loud :/ I will try and mix it down in future videos or cancel it out if I get more comments about it. Thanks!
Love the video.. and thanks for the in depth explanations. Been steering away from rhythm changes for years and have finally decided to tackle it head on!!..One constructive critique, I find the background music you're using while talking very distracting and contradictory to the rhythm changes at hand.. i keep thinking I have another window open by mistake. :).. nevertheless, well done and thank you
Thanks for your comment! Appreciate your kind words and I hope this video helps you! I would encourage you to check out my video on Louis Smith's concepts as many of them are over rhythm changes! As for background music, yes... looking back it was not good to have. In my new videos the production has greatly increased and their is a focus on the material rather than vibe. Thanks! ruclips.net/video/cDiuEghO164/видео.html
Question- not sure if I know what you mean when you say Bbdim chord flows back into the BbMaj chord nicely, is it just cause the Db & E in the dim chord have nice voice-leading back to the D & F of the BbMaj chord? I would expect Adim to make more sense in flowing back into the BbMaj chord because it acts like the dominant of Bb, do you think that chord detracts from the original Bb tonality more than the Bbdim chord would?
Great question! So A dim would also be great, but when you play off that it kind of implies V-I since A diminished is a sub for f7b9. Bbdim is a way to get outside the sound of Bbmajor for a quick second. When used right is sounds great! Check out Louis Smiths solo on Bakin for more examples!
You say “Bb diminished”, yet notate “B” diminished, above the G7 at the 2nd measure? The Notes on staff of that measure do Notate & spell out a Root-less Bb dim., but You notate B diminished above??
No worries, just for novices might confuse. I just figured it a typo, since You did notate the Bb Diminished on the staff ;) Ha, I replied in the wrong place above🥴
Treat the A section like a blues? Wes and grant do that all the time... I don’t think that doing that would be wrong? Can you post a link to where Barry said that so I can see his reasoning?
@@NathanBortonMusic I'll look for it. He said one of his teachers told him that he was treading Rhythm Changes like a Blues with a bridge and that that was wrong. It's in one of his many videos online. If I find it, I'll let you know, but I don't believe he gives much of an explanation. BTW I have been using your advice on the diminished scale/chords on the A section and it sound pretty good to me so far. Hadn't thought about that.
@@stangetz534 I have transcribed dozens of Rhythm Change solos from Charlie Parker, Stan Getz, Don Byas, Mike Brecker, Pat Metheny, John Scofield, Coltrane, Miles Davis, Sonny Rollins - I could go on - and It is very common to play a chorus of blues phrases to mix things up. I would say essential. The cult of Barry Harris has always puzzled me, and I would ignore that advice.
Hi Bernhardt. I appreciate your feedback. This was one of my older videos and the problem has since been addressed in my newer videos. Thanks for your support!
Hi Christian. If you look at other comments you’d see that this “issue” has been addressed in future videos. It’s actually really common to have background music in videos, however this was an early video and it doesn’t fit the genre (and it’s to loud).
@@NathanBortonMusic Thank you. In fact, it's very important to developp inside ear : to look a chord and have a idea how that chord sound. It's impossible to developp that if an another chord or music sound with.
You absolutely can play all of those substitutions and more without altering the accompaniment. It will sound"out", but that is the point. There is a video of Mike Brecker here playing Oleo in '84 where he does just that, and Scofield playing Steeplechase in 2012 where he does something similar. Also check out Brecker playing Metheny's tune "What do you want" live with Metheny and you'll hear everything you could ever dream of in Rhythm Changes.
Thanks again Nathan! This was a blast.
Wow! Nice! Illuminating ☀️!
Great video guys! Thank you!
Excellent again. And also : thanks for the tab 👏👏👏👍👍👍👍
I prefer practicing the actual chords because its such an important learning tool for learning other standards. I also like a combinations of things when im performing it live, such as focusing on the parallell triads of Bb and Cm over the first four bars.
Hi Oscaraha. Thats a great tool with the triad pairs! You could also try using traids out of the Bbdiminished scale!
I love that you explain the concepts so clear and with phrasing.
Thanks so much!
Thanks! Love your channel
Thanks so much Steve!!! Always appreciate your support
Great content! I think sometimes jazz educators have a tendency of "hiding" the fact that they are simplifying cyclic harmonies at fast tempo in their solos. But when you stop to analyze, yes, the greats do that all the time! That is, sometimes you'll get a better phrasing in your improvisation if you stick to one center instead of trying to chase every secondary dominant that fly by at an insanely high speed. Underlining every aspect of the harmony can also be interesting depending on your intention, it just doesn't have to be a rule.
Yes! Sometimes simple is a good choice
Great !
Super good! Thank you. I realy like your playing in the end. Real good jazz guitar.
Thanks a lot!
Thanks Nathan !
Thank YOU for watching!
Really amazing stuff! Well laid out and understandable. I am really digging´ your videos! Thank you so much!
Awesome, thank you!
Did someone pointed that UMMG is from Billy Strayhorn not Benny Golson???? I loved the “turning it all into Bb Dominant Diminished”! Gary Thomas does this as well… brilliant!!!
Wow !
Hope you enjoyed it Genio!
from the time stamp 6:44 and onward it should be notated as "Bb dim" NOT "B dim." Sorry about this mistake!
Cool! Thanks for sharing. Quick suggestion: You can get rid of the "elevator" music behind your explanations. It distracts the attention from the "meat" of the talk!
Hi Jackie, Thanks for your comment and appreciate your feedback! I like having some sort of music in the background, but I probably just had it too loud in this one. I’ll make sure to back it off for future videos! Have a great day!
Love this! I'm always working on rhythm changes and looking for new approaches. Thank you guys!
Same! Rhythm changes is always something I need more work on! Glad the video helped!
Nathan amigo esto es increíble!
Gracias 😁
Thanks Rowrare!!
Wow. Today I thought I could practice some rhythm changes and just 6 days ago this video was uploaded 😂 thanks for the video, it really helps my improvisation over the changes
Glad it helped you!!!
Im the 200th liker,nice to meet you,good job!
Amazing! Thank you Kenny! Nice to meet you too :)
@@NathanBortonMusic Only the 17th bar I don't understand why we can use Gmaj7/Hexatonic stuff...The chords substitute is very helpful,Thank you for you good Vid!!
great video ¡¡¡¡ very cool ,,,,,,
Thanks Mr.Fractalito! Glad you enjoyed it!
you're really amazing man!! i was just wondering if you could do a video about using complex jazz voicing in other genres such as pop and rock? you may have done this type of video before but i always get stumped with it.
Hi Finbar! Thats a great question! I would check out David Binney or Adam Rogers for that kind of stuff! I'll give you a couple links:
ruclips.net/video/BN6FO-OxGc4/видео.html
ruclips.net/video/Rupa13bfWdY/видео.html
First of all Thanx for sharing your knowledge. I am new to your channel and I have to congratulate you on the quality of the material you share. I guess the background music is to make the atmosphere easier and more pleasant; however (also for me) since the channel deals with music and how to play it on/with guitar, I feel the music in background as a sort of "interference". However it is a minor detail and I want to thank you again for your dedication.
Cheers from Italy
Hi Aeter! Thanks so much for your comment and feedback! Yes looks like I got some people saying the same things about the background music. Is it the style of the music or volume? I wasn’t in my studio when mixing this so I think I mixed it to loud :/ I will try and mix it down in future videos or cancel it out if I get more comments about it. Thanks!
At first I liked the original changes. But upon listening again I liked the F#7 instead of the Bb for the 1 chord then cycling dom 4ths
I love the cycling Dom lines! Tricky to solo over though but really adds some interest to a solo!
Love the video.. and thanks for the in depth explanations. Been steering away from rhythm changes for years and have finally decided to tackle it head on!!..One constructive critique, I find the background music you're using while talking very distracting and contradictory to the rhythm changes at hand.. i keep thinking I have another window open by mistake. :).. nevertheless, well done and thank you
Thanks for your comment! Appreciate your kind words and I hope this video helps you! I would encourage you to check out my video on Louis Smith's concepts as many of them are over rhythm changes! As for background music, yes... looking back it was not good to have. In my new videos the production has greatly increased and their is a focus on the material rather than vibe. Thanks! ruclips.net/video/cDiuEghO164/видео.html
Question- not sure if I know what you mean when you say Bbdim chord flows back into the BbMaj chord nicely, is it just cause the Db & E in the dim chord have nice voice-leading back to the D & F of the BbMaj chord? I would expect Adim to make more sense in flowing back into the BbMaj chord because it acts like the dominant of Bb, do you think that chord detracts from the original Bb tonality more than the Bbdim chord would?
Great question! So A dim would also be great, but when you play off that it kind of implies V-I since A diminished is a sub for f7b9. Bbdim is a way to get outside the sound of Bbmajor for a quick second. When used right is sounds great! Check out Louis Smiths solo on Bakin for more examples!
When you change the chords, we cant hear how the idea would work with the original progression
good point
Secret?
Secret sauce?
You say “Bb diminished”,
yet notate “B” diminished, above the G7
at the 2nd measure?
The Notes on staff of that measure do Notate & spell out a Root-less Bb dim.,
but You notate B diminished above??
Yep, looks like this is a mistake on my part. It should say "Bb" instead on "B." Sometimes things slip through, thanks for catching that.
No worries, just for novices might confuse.
I just figured it a typo, since You did notate the Bb Diminished on the staff ;)
Ha, I replied in the wrong place above🥴
... oh, but figured out how to delete it. I don’t comment on RUclips often, lol.
Fantastic 😍💋 💝💖♥️❤️
Thanks for watching Lawrence!
2:45 Barry Harris points out not to do this, fyi.
Treat the A section like a blues? Wes and grant do that all the time... I don’t think that doing that would be wrong? Can you post a link to where Barry said that so I can see his reasoning?
@@NathanBortonMusic I'll look for it. He said one of his teachers told him that he was treading Rhythm Changes like a Blues with a bridge and that that was wrong. It's in one of his many videos online. If I find it, I'll let you know, but I don't believe he gives much of an explanation. BTW I have been using your advice on the diminished scale/chords on the A section and it sound pretty good to me so far. Hadn't thought about that.
@@stangetz534 I have transcribed dozens of Rhythm Change solos from Charlie Parker, Stan Getz, Don Byas, Mike Brecker, Pat Metheny, John Scofield, Coltrane, Miles Davis, Sonny Rollins - I could go on - and It is very common to play a chorus of blues phrases to mix things up. I would say essential. The cult of Barry Harris has always puzzled me, and I would ignore that advice.
why do you need background music while explaining? I say it's a no go in a music tutorial.
Hi Bernhardt. I appreciate your feedback. This was one of my older videos and the problem has since been addressed in my newer videos. Thanks for your support!
@@NathanBortonMusic thank you for your answer, that calms me down 😉
Why thoses background music when you explain??? Other keys, other changes... Ridiculous
Hi Christian. If you look at other comments you’d see that this “issue” has been addressed in future videos. It’s actually really common to have background music in videos, however this was an early video and it doesn’t fit the genre (and it’s to loud).
@@NathanBortonMusic Thank you. In fact, it's very important to developp inside ear : to look a chord and have a idea how that chord sound. It's impossible to developp that if an another chord or music sound with.