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JAZZADVICE RECOMMENDS

DECEMBER 17TH, 2015

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By Eric

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We are Forrest and Eric. Weve learned from a ton of

great musicians (Mulgrew Miller, Rich Perry and
many more). We are sharing anything that continues
to inspire us as musicians and creative individuals
alike. Enjoy.

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Every improviser has to face it at some point

Were talking about those 32 bars of music that you know as Rhythm Changes.
Sure its easy enough to sing the melody
And youve heard all the recordings of famous musicians playing circles around this
familiar chord progression.
But when it comes improvising your own solos it can be tough.

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A single scale doesnt work and the chords are changing too quickly to think about
music theory or those fancy lines youve memorized.
To sound great on this tune you need something else

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Time to learn from an expert

So what are you going to do?

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Practicing Jazz Improvisation

You can look in books for patterns. You can think about music theory. You can even
try to fake it with a few scales.
But thats not musicat least not the kind you would pay to hear at a concert.
To start playing the way you envision, you need to get answers from someone that
knows what theyre doing. And that means searching for the best recordings and
learning why those players sound great.

When you transcribe the solo of a master musician and figure

out why it works its like having a mentor tap you on the
shoulder to say, Hey, instead of that stuff youve been
playing, try playing it like this!
Lets take a listen to John Coltranes solo on Oleo from the album Relaxin with the
Miles Davis Quintet:

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Sounds great, right? Now what you can learn from this solo that will change your own
playing?
Today were going to break down four key concepts from Coltranes solo to find out
why it sounds great. Along the way well give you some essential practice exercises to
develop these techniques in your own solos.
Lets get started

How to Hear Chord Changes

Fundamental Ear Training Exercises

I) Improvising over I-VI-ii-Vs

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Progression Recall

The first step to improvising over Rhythm Changes is learning how to play over a single
chord progression I VI ii V7.
This chord progression might not look that important at first glance, yet its in nearly
every standard that youre going to play.
From Rhythm Changes to the blues to the turnarounds in countless standards this is a
progression that you need to master.
In the key of Bb, I-VI-ii-V7 looks like this:

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TOPICS
Advice For Everyone (73)
Chords (52)
Composition (3)
Concepts (75)

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Ear (47)
Inspiration (58)

So how are you going to sound good on this progression? Well, like any musical
obstacle, find a player that sounds great and find out why their lines work.

Jazz Education (38)

Jazz Language (41)

And this is where that Coltrane solo comes in handy.

Myth (9)

When you listen to the solo you probably thought it sounded great, but maybe too
complex. However, if you listen more closely youll find that he is using the same
musical devices over and over again.

Perspective (83)
Players (24)
Practice routines (63)

Here are 3 ways that Coltrane plays over these chords using the same melodic
and harmonic concepts:

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Notice how Coltrane uses the same devices in all 3 lines:

Enclosure on the C
F Bebop scale leading to the F7
Melodically changing direction to add interest
Listen to the 2nd line and note how he encloses the C and uses an F Bebop scale to
reach the F.

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1. Play the roots of the I-VI-ii-V progression in all 12 keys

2. Play the triad of each chord in every key (ex. Bb triad, G triad, C minor
triad, F triad)
3. Pick one of the 3 Coltrane lines from above and memorize it in key of Bb.
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Start with the metronome at quarter = 60-70 and gradually increase the
tempo until you can play it along with the recording.
4. Now learn that line in every key, starting with Bb and moving either up
or down by half-step.

II) Tritone Substitution

One method that Coltrane uses to add some harmonic interest to his lines is the
tritone substitution.
Simply substituting the V7 chord in a progression with a chord a tritone away. For
example, in a ii-V7 I in the key of Bb, the F7 chord would be substituted with a B7:

Youve probably heard of bebop players using tritone substitutions as a

reharmonization technique, but the technique of substituting chords, especially implied
melodically, is something that all great players do.
Check out how Coltrane uses this technique in his solo on Oleo:

Download File
Instead of following the standard chord progression, he substitutes a Db7 for G7 and a
B7 for F7.

Take another listen to those tritone subs (this time at a slower speed):
Download File

Note how this substituted progression creates a descending chromatic root movement
from Db7 to C to B7 to Bb.

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Coltrane utilizes this half-step movement in his solo in the line below. Essentially
thinking of three major triads in a row Db, C, and B which resolve to Bb in the next
measure.

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1. Visualize the tritone sub chord for each V7 chord in every key, for
example G7 >> Db7
2. Now visualize the tritone substitution within a ii-V7-I progression in all 12
keys
3. Your ability to use these sounds in your solo depends on how fast you
can see them in your mind so make sure you spend time visualizing each
key!
4. Take one of the Coltrane tritone sub ideas and practice it in every key

III) ii-Vs on the Bridge

The next challenge of improvising over rhythm changes is the bridge

Eight bars of V7 chords moving around the cycle of fourths that come back every
chorus. What exactly are you supposed to play over these chords??

This question stumps many improvisers. A sequence of dominant chords that lead
right into other dominant chords. Do you just cut and paste scales?
Not if you want to sound musical.
Lets check out what Coltrane plays the first time through the bridge:

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Download File
The reason that this line sounds good is that hes playing musical language, not
scales. And the reason his lines have forward motion is that hes thinking of ii-Vs
Over each two bar Dominant 7 chord he is implying a ii-V7 instead a static dominant
chord. For example, over the G7 chord he plays D minor to G7:

Download File

1. The concept can of playing ii-V7 instead of just V7 can be applied to any
V7 chord that you encounter. Begin by visualizing the related ii chord for
every V7 sound (ex. G7 >> D-)
2. Take the bridge to Rhythm Changes in Bb and visualize a ii-V7 over
every 2 bar V7 chord.
3. Do this in every key.
4. Now take a ii-V7 line that you know and apply it to the bridge of Rhythm
Changes.

IV) Implying minor and major over V7

Another way that Coltrane approaches these static dominant chords on the bridge is
from the b7 scale degree.
For instance a C Major sound over a D7 chord.

Download File
Practice approaching V7 chords from the b7 scale degree. You can start with
arpeggios or other major language that youve developed.
(This is the same concept that Fats Navarros played over the bridge to Rhythm

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Changes that we looked at in this post!)

Download File

1. Practice visualizing the related ii chord for every V7 chord in all 12 keys
(ex. D7 >> A-)
2. Visualize a major arpeggio from the b7 of a dominant chord in every key
(ex. G7 >> F-A-C-E)
3. Practice applying minor language that you know over related V7 chords
in your solos
4. Play a major 7 arpeggio from the b7 of every V7 chord.

Now its your turn

With these four Coltrane concepts youll have more than enough material to head into
the practice room.
And if you put these ideas to work in your playing youll begin to see Rhythm Changes
in a new light.
However, practicing these concepts is only the first step
Remember, knowing the theory behind each of these concepts isnt enough.
You need language to make them musical.
Start by getting inspired with the melodies that Coltrane played and then find new
ways to create your own!

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