Rhythm Changes: Single Note Solo Lines

Med. Swing by Steve Herberman

Major scale to Augmented arpeggio
Bb
 
G-7
 
F7 C-7 Bb6
   
1.
      
       

Major scale to Whole Tone Scale

   C-7
   
Bb6
2.
    
G-7 (F+7) F7
 
Bb
    
    

Major scale with lower neighbor tone to mixture of whole tone scale/aug. arpeggio

   
3. Bb C-7 F7 Bb6
G-7
     (F+7)
  
 
   

Major scale to melodic minor C-7

4. Bb G-7 (F7alt) F+7b9 Bbma7

             

F# mel. min.

    

C-7 C-7
5. (F7 alt)
 
Bb (F7 alt) Bbma7
 
G-7
            
F# mel. min. Bbma7 G-7 F# mel. min.

             
    
© Reach Music 2007
2

C-7
6. (F7alt) F7alt


Bb G-7
     
Bbma7

F# mel. min.

 
    
   

C-7
(Ebm-7) F7alt

        
iv Ebmin. for the whole bar Bbma7

7. G-7

Bb
  
      

C-7
Bb G-7 (Ebm-7)
Bbma7
       
8.

iv Ebmin. for the whole bar

   
 
   

9. Bb G7b9 C-7 F7

         
      

Bb G7b9 C-7 F7 F-6


                 


10. Guide Tone Lines

                 
D-7 G7 C-7 F7 Bb G7 C-7 F7 Bb

                
    
 11. g.t. lines continued 3
               
Bbma7 G7b9 C-7 F7b9 Bbma7
   


g.t. lines continued

D-7 G7b9
  
12. C-7 F7alt
             
(Db-7) Bbma7
  


g.t. lines continued

13. Bb G7 C-7 (C#0) Bb
       
(A triad)

      
  

Bb Diminished scale or A7b9 half-whole scale

14. C-7 F+7 Bbma7

G7

Bb
     
        
   

Bb Diminished arpeggio-sounds best played uptempo!

15. G7 C-7 F+7
Bb

    
            


F7
        
C-7 Bb
G7
 
Bb

       

4
Rhythm Changes Solo#1

16.
  
Db7 C-7

            
D-7 B7 Bb Db9 C-7 B9

         


       
Bb         
Bb7 Eb-7
 
Eb

D-7 G7b9 

    
C-7 F7alt


      


Bb G+7 C-7 F+7 D-7 G7b9 C-9 F7

  
                          
3 3 3

           
F-7 Bb7 Ebma9 Eb-7 Bb F7 Bb
        
       

B
A- A-ma7 A-7 D7 D-7 G7
           
              
      

3

            
G- G-ma7 G-7 C7 C-7 F7b9

           
           

 
D-7

Db-7 C-7
   
F+7 D-9
    
Db7
  
C-9
  
F7

               
     

F-7
     
Bb+7b9
 
    
Eb F7 Bb E0 Bb

       
    
3
 g.t. lines continued 5
17.
    
F-7 Bb+7 Eb E0
    
        

Bb G+7 C-9 F+7

  
Bb

            
3

    

1,2,3,5 patterns
18.
  
F-7 E7
    
Ebma7
      
Eb- Bb
    


19. Bb7b9 half-whole scale-----------

 
            
F-7 Bb7alt Eb-7 Bb
Ebma7

       

Whole Tone scale

   Bb7alt 
20.
 
F-7 Bb

       
Ebma7 Eb-7
  
  

Chromaticism

    
Eb-7 Bb
      
21. F-7 Bb+7 Ebma7
      
 

Ascending Line Cliche

22.
       
F-7 Bb7#11 Ebma7 Eb-7 Bb
     
       
3

 
3
6 Diminished to Whole Tone
23.
Diminished Augmented (Whole Tone)

     
G+7
  
  
D13b9
   
          
 
  

  F+7

C13b9
            
     
Bb

      

24. Triad Pairs over the bridge to "Rhythm"

A-7 D7 D-7 G7
      
A-7 D7 D-7 G7
 
(F)
  
(G)
 
(D) (Ctriad) (D) (G)
    
(Ctriad) (F)

           

from Gb melodic minor

G-7
   (Dbtriad)
C7 G-7 C7 C-7 F7 C-7 B7 Bb
(Bbtriad) (Ctriad) 
      
(Bbtriad)
      (Btriad)    
(Ebtriad) (F)
          
(Ctriad)

  

25. Diatonic Sevenths

G7
       
D7 D-7
     
            
(Cma7)

A-7 (B-7) (D7b9)
  
(Cma7) (B-7b5)

     

      
Bb
                  
G-7 Descending minor line cliche
C-7 F7

       
 7

Sub V with related ii (substitutions)

26.
A-7 D7 Eb-7 Ab7 G7 Ab-7 Db7
        
                
       


C7
          
C-7 F#-7 B7 Bb

                 

27. "Don Byas" Reharmonization on A section

F#7 B7
    E7  A7
    
D7 G7 C7 F7 Bb7

  
             
Sequence

28.

 
F#7 b9 B7 E7 A7 D7 G7 C7 F7
  
Bb
   
            
9

  
Sequence
8 Rhythm Changes Solo#2

   
Bb G7
 
C-7

F7
     
D-7

G7

C-7 F7
   
      
      
3

Bb7

       
F-7 Eb Eb- Bb G7 C-7 F7

(E9)
            
  
3

Bb G7 C-7 F7
 D-7 G7    F7    
 C-7
 
3
   
3
    
              

    Bb7
F-7
   Eb
   
Eb-

Bb F7 Bb
           
3

     

3

       
G7


D7
            
        
3 3

       
F7 C-9
    
C7 (F#-7 B7#11 )
         
     

   

C-7 F7 D-7 G7 C-7 F7


Bb G7
 
(Db) (B)
   
                   
      

F-7 Bb7#11 Eb Eb- Bb

     
 
     
      
  