:'; .

Jf.erbcllisl~~?;
RHYTHMSHAPI:S
CONTENTS page # CDTrack CONTENTS Page # CDTrack

Introduction. . . . . . . . . . . . . .'. . . . . . . . . . . . .2 . . . . . . . .1 Example 17 .21 .22

Foreword 3 Example 18 .22 . . . . . . .23
Tuning Notes. . . . '," . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 j Example 19 .22 . . . . . . .24
Unít One: Rhythm Cha"~"\s . . . . . . . . .4 . . . . . . . .3 Example 20 .23 . . . . . . .25
Analysis of Rh.ythm Ghanges . . . . . . . . . .4 . . . . . . . .3 Example 21 .24 . . . . . . .26
Rhythm Changes Structure 4 . . . . . . . .3 Example 22 .24 . . . . . . .27
Harmonic Analysis . . . . . . . . . . . . . . . . . .5 . . . . . . . .3 Example 23 .25 .'. . . . . .28
Substitute Changes . . . . . . . . . . .5 . . . . . . . .4 Exampte 24 .26 . . . . . . .29
Suggested Fingering 7 . . . . . . . .4 Example 25 , .26 . . . . . . .30
Example 1 7 4 Example 26 .27 . . . . . . .31
Jnit Two: Shape 1 8 Example 27 , .28 . . . . . . .32
. Moretuning notes. . . . . . . . . . . . . . . . . . . . . . . . . .5 Example 28 .28 . . . . . . .33
Intro to Unit 2 6 Unít Six: The Bridge. . . . . . . . . . . . . . . . . . .29
Shape 1 8 Example 29 , .31 .34
Example 2 10 . . . . . . . .7 Example 30 ,. .31 .35
Example 3 .10 . . . . . . . .8 Example 31 .32 . . . . . . .36
Example 4 10 . . . . . . . .9 Example 32 .32 . . . . . . .37
Example 5 .11 10 Example 33 , .33 .. . . . . .38
Example 6 """""""""" .11 .11 Example 34 .34 . . . . . . .39
InitThree: Shape 2 .12 Example 35 .34 . . . . . . .40
Example 7 .13 . . . . . . .12 Example 36 .35 . . . . . . .41
Example 8 .14 . . . . . . .13 Example 37 .36 . . . . . . .42
Example 9 .14 . . . . . . .14 Example 38 ,.. .37 .,. . . . .43
Example 10 .15 . . . . . . .15 Example 39 , .37 . . . . . . .44
nit Four: Shape 3 .16 Example 40 .38 .,.. . . .45
Example 11 .17 . . . . . . .16 Example 41 .39 . . . . . . .46
Example 12 """"""""'" .18 . . . . . . .17 Unit Seven: Combining the Concepts
Example 13 .18 . . . . . . .18 (Entire Solos) 40
'lit Five: Combining the Shapes .19 Solo 1 , .40 .. . . . . .47
Example 14 .19 . . . . . . .19 Solo 2 .42 .. . . . . .48
Example 15 """"""""'" .20 . . . . . . .20 Appendix 44
Example 16 .20 . . . . . . .21

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 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 a
traditional AABA formato

Basic Changes:
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1 143
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, 333
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213'
1151,
2 143
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2134

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Gm7 Cm7 F9 Bb6 Gm7 Cm7 F9

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.ff'
2134 86f'
I 234
.6f'
1J 33
.6f'
1311
115f'
2 t 43 1171'
2134
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2 143
-' Bb 13 Eb Ebm7

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Bb6 F9 Bb6

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v
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[2.)( x )( )(

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, 10
11710
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1 1> 3
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1 243
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xx

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CJ113

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