April-14th-2004, 04:01 PM
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#1
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Registered User
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Posts: 24
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rhythm changes question
we all know of standards based on rhythm changes.
but now I'm looking for standards who use only the A part of rhythm or only the B part of rhythm .
anyone can help me with this strange question ?
Thanks.
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April-14th-2004, 04:34 PM
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#2
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the bridge of caravan is kind of the same harmony as the rhythm bridge.
this is what I'm looking for.
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April-14th-2004, 04:43 PM
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#3
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Reevaluating @ 500k
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Scrapple from the Apple. The A section is Honeysuckle Rose.
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April-15th-2004, 01:37 PM
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#4
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If you double the bar lengths of the bridge changes ( four bars per chord change as opposed to two) ..
you essentially have the changes of Sweet Ga Brown (minus the turnarounds )
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the arrangers best friend is his pencil .. the end with the rubber on it ( E.K.Ellington )
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April-15th-2004, 02:25 PM
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#5
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Reevaluating @ 500k
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According to this Fats Navarro discography, both "Good Bait" and "Webb City" have a "Rhythm" A section with a different bridge.
http://csis.pace.edu/~varden/navarro/discog.html
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April-15th-2004, 03:28 PM
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#6
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Quote:
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Originally Posted by Pete C
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Is that what Digital is talking about--the changes to "I Got Rhythm"? If not, what's a "rhythm change"?
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April-15th-2004, 04:01 PM
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#7
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swing like crazy!
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"Cloudburst" uses Rhythm changes for the A sections, but has a different bridge.
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April-15th-2004, 04:36 PM
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#8
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" Good Bait"s Bridge section is the same thing as A..up a fourth ..
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the arrangers best friend is his pencil .. the end with the rubber on it ( E.K.Ellington )
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April-15th-2004, 04:40 PM
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#9
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Quote:
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Originally Posted by bluenoter
Is that what Digital is talking about--the changes to "I Got Rhythm"? If not, what's a "rhythm change"?
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Yo, don't all answer me at once!
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April-15th-2004, 04:50 PM
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#10
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Quote:
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Originally Posted by bluenoter
Yo, don't all answer me at once!
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the plural "CHANGES" makes a big difference:
rhy. changeS = the chord changes of I got Riddum ..
these same changes are the basis for many contrafacts that have been created on the chordal scheme ( I know what the next question is gonna be..  )
a rhythm CHANGE would be segueing from a Strauss waltz to a Boogaloo ...
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the arrangers best friend is his pencil .. the end with the rubber on it ( E.K.Ellington )
Last edited by graypencil; April-15th-2004 at 04:54 PM.
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April-15th-2004, 05:29 PM
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#11
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Quote:
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Originally Posted by graypencil
( I know what the next question is gonna be..  )
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The next question is gonna be, "How come you didn't just say yes?" But seriously, thanks, GP. It amazes me that everyone who posted knew that, even though "rhythm" wasn't capitalized.
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April-15th-2004, 05:32 PM
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#12
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Reevaluating @ 500k
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Quote:
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Originally Posted by bluenoter
It amazes me that everyone who posted knew that, even though "rhythm" wasn't capitalized.
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Nothing was capitalized except A, B, and Thanks!
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April-16th-2004, 10:40 AM
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#13
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I guess I'm confused by the question. Are you looking for standards that consist only of the first 8 bars of a rhythm changes and have no other sections (just an A that repeats over and over)? Or a standard that consists of the first 8 bars of rhythm changes and has another section that is not the bridge of a rhythm section but something else.
Same question for the B section.
thanks
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April-16th-2004, 12:46 PM
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#14
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Quote:
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Originally Posted by iris
I guess I'm confused by the question. Are you looking for standards that consist only of the first 8 bars of a rhythm changes and have no other sections (just an A that repeats over and over)? Or a standard that consists of the first 8 bars of rhythm changes and has another section that is not the bridge of a rhythm section but something else.
Same question for the B section.
thanks
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that would be an affirmative on both ...
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the arrangers best friend is his pencil .. the end with the rubber on it ( E.K.Ellington )
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April-16th-2004, 12:49 PM
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#15
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Reevaluating @ 500k
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I assumed he's looking for an AABA form where either A or B, but not both, is Rhythm.
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April-20th-2004, 04:23 AM
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#16
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Arbiter of Good Taste
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Quote:
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Originally Posted by graypencil
the plural "CHANGES" makes a big difference:
rhy. changeS = the chord changes of I got Riddum ..
these same changes are the basis for many contrafacts that have been created on the chordal scheme ...
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What's a "contrafact" !!!??
Is that a euphemism for something like the theme tune to "The Flintstones" ?
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April-20th-2004, 02:13 PM
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#17
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Quote:
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Originally Posted by Bruce Lindfield
What's a "contrafact" !!!??
Is that a euphemism for something like the theme tune to "The Flintstones" ? 
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THAT was the "next question" I expected
a contrafact is an original melody constructed over the chord changes of an existing standard melody..
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the arrangers best friend is his pencil .. the end with the rubber on it ( E.K.Ellington )
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April-20th-2004, 02:53 PM
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#18
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Hey, are you gonna believe GP, a mere musician? I happen to know that a "contrafact" is
either
-- a true statement about a form of British folk dancing,
or
--a lie.
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April-20th-2004, 09:16 PM
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#19
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The bridge to "Bernies Tune" (oddly by Bernie Miller) bears resemblence to Rhythm Changes' A section
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April-21st-2004, 01:30 PM
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#20
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Quote:
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Originally Posted by mscv
The bridge to "Bernies Tune" (oddly by Bernie Miller) bears resemblence to Rhythm Changes' A section
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the first four bars do ( Bb: 1/6/2/5 and repeat )
but the second four are differing a bit to get back to the minor A section )
(Bb: 1/6/2/5/ ! /1 /7dom /7dom=5 dom. of D minor )
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the arrangers best friend is his pencil .. the end with the rubber on it ( E.K.Ellington )
Last edited by graypencil; April-21st-2004 at 01:32 PM.
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June-4th-2004, 01:00 AM
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#21
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....I think he means a song where the form is just the first four bars because the B section is tougher to solo over.....If that's the case there is no shame in just soloing over the A section.
-52nd
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June-4th-2004, 12:25 PM
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#22
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colors outside the lines
Join Date: Mar 2003
Posts: 12,288
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Quote:
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Originally Posted by bluenoter
Hey, are you gonna believe GP, a mere musician? I happen to know that a "contrafact" is
either
-- a true statement about a form of British folk dancing,
or
--a lie.

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contra=against, fact=something that already exists; hence, musically, playing something new or different against (texturally) something that already exists
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