Toot My Own Horn Dept.
'Ning's the Thing! Thelonious Monk's "Rhythm-a-Ning" :
Another Self-Transcription
'Ning's the Thing! Thelonious Monk's "Rhythm-a-Ning" :
Another Self-Transcription
The vehicle featured in is month's forage into musical self-discovery is none other than Thelonious Monk's “Rhythm-a-Ning”.
As with the two most recent posts (“Bemsha Swing” & “Bye-Ya”), the play-along used here is from Hal Leonard Jazz Play-Along Vol. 91, “Thelonious Monk Favorites – 10 Classic Tunes”, which features the heavyweight rhythm section of (the late, great) pianist Ronnie Mathews, bassist Kiyoshi Kitagawa, as well as Monk's former drummer (the great, late), Ben Riley. You can't get closer to the real deal than this.
As you might know, “Rhythm-a-Ning” is Monk's best known “Rhythm Changes” composition - the chord progression of which is based on George Gershwin's 1930 32-bar, AABA standard “I Got Rhythm”, from which countless tunes have been derived and recorded by countless artists of countless genres.
As with the two most recent posts (“Bemsha Swing” & “Bye-Ya”), the play-along used here is from Hal Leonard Jazz Play-Along Vol. 91, “Thelonious Monk Favorites – 10 Classic Tunes”, which features the heavyweight rhythm section of (the late, great) pianist Ronnie Mathews, bassist Kiyoshi Kitagawa, as well as Monk's former drummer (the great, late), Ben Riley. You can't get closer to the real deal than this.
As you might know, “Rhythm-a-Ning” is Monk's best known “Rhythm Changes” composition - the chord progression of which is based on George Gershwin's 1930 32-bar, AABA standard “I Got Rhythm”, from which countless tunes have been derived and recorded by countless artists of countless genres.
Although the vibe and character of the tune is uniquely Monkish, the melody on the A-section which starts out with simple Bb and Eb (concert) root position triads (Bb-D-F & Eb-G-Bb), reportedly precedes Monk, going back to sometime in the 1930's, by among others, Monk's good friend, pianist Mary Lou Williams.
The reasons for recording and transcribing my own tenor playing to this playback, as well the previous pair, is to monitor my own playing and to be able to zero in on detailed aspects of a particular tune, as well as the elements of tone, time, phrasing and swing – in addition to the harmonic and melodic concepts.
In addition, after publishing almost 40 books (digital & hard copy), this is an attempt, as part of my own continued development as an improviser, to utilize and demonstrate some of the concepts found in these books. Also - since the current pandemic has severely limited live performance across the board – this is a fun and productive way for me to stay in the music. To top it off, I can share both the audio and transcribed results with you here. Oh Glory...!
The reasons for recording and transcribing my own tenor playing to this playback, as well the previous pair, is to monitor my own playing and to be able to zero in on detailed aspects of a particular tune, as well as the elements of tone, time, phrasing and swing – in addition to the harmonic and melodic concepts.
In addition, after publishing almost 40 books (digital & hard copy), this is an attempt, as part of my own continued development as an improviser, to utilize and demonstrate some of the concepts found in these books. Also - since the current pandemic has severely limited live performance across the board – this is a fun and productive way for me to stay in the music. To top it off, I can share both the audio and transcribed results with you here. Oh Glory...!
The harmonic version of rhythm changes presented with the play-along track is as follows (tenor key):
- A1 & 2-
C | D-7 D# dim | E-7 A7 | D-7 G7 |
C7 | F7 | C7 | (G7) :||
- Bridge -
E7 | | A7 | |
D7 | | G7 | |
- A3 -
C | D-7 D# dim | E-7 A7 | D-7 G7 |
C7 | F7 | C7 | (G7) ||
The track takes you through the 32-bar form 6 times – head, 4 choruses for improvisation and out head. The 3rd and 4th improv choruses employ the “Rhythm Changes Bridge Cycle”. More on that below.
One of the limitations of any play-along is that one is forced to “play along” - meaning that you're restricted, more or less, to the stylistic and harmonic nuances, etc. of the track itself. In other words, to state the obvious - it won't jump out of the headphones and accompany you.
Having said that, this particular track is set up so that one can explore and practice several very cool concepts.
So, let's explore a few of those concepts in the solo, shall we?
- A1 & 2-
C | D-7 D# dim | E-7 A7 | D-7 G7 |
C7 | F7 | C7 | (G7) :||
- Bridge -
E7 | | A7 | |
D7 | | G7 | |
- A3 -
C | D-7 D# dim | E-7 A7 | D-7 G7 |
C7 | F7 | C7 | (G7) ||
The track takes you through the 32-bar form 6 times – head, 4 choruses for improvisation and out head. The 3rd and 4th improv choruses employ the “Rhythm Changes Bridge Cycle”. More on that below.
One of the limitations of any play-along is that one is forced to “play along” - meaning that you're restricted, more or less, to the stylistic and harmonic nuances, etc. of the track itself. In other words, to state the obvious - it won't jump out of the headphones and accompany you.
Having said that, this particular track is set up so that one can explore and practice several very cool concepts.
So, let's explore a few of those concepts in the solo, shall we?
Ex. 1 below (bars 9-16, :41) shows a line consisting of Perfect 4ths, overlapping 027 trichords and Pentatonic groupings (can you find them?).
This creates a mild dissonance against the prevailing harmonies in bars 9 -12, of the A-section and resolves neatly to the Maj 3rd of the C7 in bar 13. Notice how the placement of rests add to the jagged bounce of the line.
Ex. 1 – bars 9-16, :41
This creates a mild dissonance against the prevailing harmonies in bars 9 -12, of the A-section and resolves neatly to the Maj 3rd of the C7 in bar 13. Notice how the placement of rests add to the jagged bounce of the line.
Ex. 1 – bars 9-16, :41
Ex. 2, from bars 41 – 48, 1:16 (2nd chorus, the same place in the form as Ex.1), depicts a similar concept while delaying resolution a bit longer, leading into the bridge of the second chorus.
Ex. 2 – bars 41-48, 1:16
Ex. 2 – bars 41-48, 1:16
One of the challenging concepts this play-along track offers, on the 3rd and 4th choruses of the solo, is the “Rhythm Changes Bridge Cycle”, starting on the bVI7”.
Based on the Cycle of 5ths - by tritone substitution and the Chromatic Cycle – this enigmatic device was conceived by working backwards from G7 (in bar 68 of Ex. 3) – the dominant of C, to which it resolves – for four bars via the Cycle of Fifths, to Ab7 in bar 65, which becomes the first chord of the Cycle, and of the bridge.
The line in Ex.3 consists of rhythmically displaced, alternating Augmented Triads (descending / ascending direction) from the Ab Augmented Scale (again - all examples in tenor key).
This scale is comprised of 2 Augmented triads, a min 3rd apart. (Ab-C-E & B-Eb-G = Ab-B-C-Eb-E-G). Since the Augmented triad is symmetrical in its inversions, both triads can also be viewed as being a half-step apart (G-B-Eb & Ab-C-E, etc.).
Ex. 3 – Bars 65-68, 1:40
Based on the Cycle of 5ths - by tritone substitution and the Chromatic Cycle – this enigmatic device was conceived by working backwards from G7 (in bar 68 of Ex. 3) – the dominant of C, to which it resolves – for four bars via the Cycle of Fifths, to Ab7 in bar 65, which becomes the first chord of the Cycle, and of the bridge.
The line in Ex.3 consists of rhythmically displaced, alternating Augmented Triads (descending / ascending direction) from the Ab Augmented Scale (again - all examples in tenor key).
This scale is comprised of 2 Augmented triads, a min 3rd apart. (Ab-C-E & B-Eb-G = Ab-B-C-Eb-E-G). Since the Augmented triad is symmetrical in its inversions, both triads can also be viewed as being a half-step apart (G-B-Eb & Ab-C-E, etc.).
Ex. 3 – Bars 65-68, 1:40
b13 3 R b5 b7 9 b5 9 b7 3 b13 R 3 R b13 3 9 b5 b7 b5 (b7 R b7 b13 3 of G7)
The Whole Tone Scale (which consists solely of Augmented triads), is a signature sound in Monk's music. When they alternate chromatically - most often descending (see Ex. 5), while including the tritone - they annunciate a series of descending dominant 7th chords in the Cycle of 5ths.
By extension, alternating Augmented triads, also by a half-step, have a similar, albeit more abstract, effect. This is due to the possible parts of the dom. 7th chord an Augmented triad has to offer, absent the tritone.
Going back to the Whole Tone scale – using C Whole Tone as an example to express a C7 – we get C (root), D (9th), E (3rd), F# (#4 or b5), Ab (b13), Bb (b7). The numbers under Ex. 3 indicate this for each individual triad in relation to the particular dominant 7th chord above it.
The triads are simply descending inversions of Ab+ & G+.
Ex. 4 (bars 73–76, 1:49) might be an even clearer example of the exact same idea. The alternating Augmented triads' direction in this case is ascending / descending.
Ex. 4 – bars 73-76, 1:49
By extension, alternating Augmented triads, also by a half-step, have a similar, albeit more abstract, effect. This is due to the possible parts of the dom. 7th chord an Augmented triad has to offer, absent the tritone.
Going back to the Whole Tone scale – using C Whole Tone as an example to express a C7 – we get C (root), D (9th), E (3rd), F# (#4 or b5), Ab (b13), Bb (b7). The numbers under Ex. 3 indicate this for each individual triad in relation to the particular dominant 7th chord above it.
The triads are simply descending inversions of Ab+ & G+.
Ex. 4 (bars 73–76, 1:49) might be an even clearer example of the exact same idea. The alternating Augmented triads' direction in this case is ascending / descending.
Ex. 4 – bars 73-76, 1:49
b13 R 3 b7 b5 9 b5 b7 9 b13 3 R 3 b13 R b5 9 b7 b5 (3 b13 R 3 of G7)
Ex. 5 illustrates a descending sequence of 4-note groupings which consist of the b7-R-9-3 and / or the 3-b5-b13-b7 of the dominant 7th chords in the Cycle (bars 89 – 92, 2:05). Both configurations contain the all important tritone.
Ex. 5 – bars 89-92, 2:05
Ex. 5 – bars 89-92, 2:05
b7 R 9 3 3 b5 b13 b7
The same principal is utilized in Ex. 6 (bars 97-100, 2:13) with descending 026 trichords, which feature the 3-9-b7 and / or b7-b13-3 of each particular dominant 7th. This is the 3-note version of the grouping in Ex. 5. Notice the 3-2 clave phrasing as superimposed over the prevailing swing of the rhythm section.
Ex. 6 – bars 97-100, 2:13
Ex. 6 – bars 97-100, 2:13
3 9 b7 b7 b13 3
Listen
There's a lot of info here - enough possibly for another book.
Speaking of which...
If you consider this stuff useful to you as an improviser, then why not pick up an e-book or three?!
They're inexpensive, will last forever and are perpetually full of good, relevant musical information - regardless of style and level of development.
If you're a beginning student or hobbyist and you feel some of this material might be a bit advanced for you at the moment, it's important to realize that the exercises in these books will help you
r-e-e-e-a-c-h and s-t-r-r-r-e-t-c-h your boundaries and allow you to grow musically.
If you're a pro and / or an educator, I know very well from my own personal experience that one is never past the point of going back and rediscovering what you thought you once knew. These books are simply handy resources to have available for both yourself and your students.
I want to thank everyone who has so far supported this website through the purchase of these e-books.
I also want to say, "Thank you, Thelonious!".
B. Stern
Speaking of which...
If you consider this stuff useful to you as an improviser, then why not pick up an e-book or three?!
They're inexpensive, will last forever and are perpetually full of good, relevant musical information - regardless of style and level of development.
If you're a beginning student or hobbyist and you feel some of this material might be a bit advanced for you at the moment, it's important to realize that the exercises in these books will help you
r-e-e-e-a-c-h and s-t-r-r-r-e-t-c-h your boundaries and allow you to grow musically.
If you're a pro and / or an educator, I know very well from my own personal experience that one is never past the point of going back and rediscovering what you thought you once knew. These books are simply handy resources to have available for both yourself and your students.
I want to thank everyone who has so far supported this website through the purchase of these e-books.
I also want to say, "Thank you, Thelonious!".
B. Stern
For an even more in-depth look, the following Shortbooks™ are recommended
and available for immediate download.
Click for more info.
and available for immediate download.
Click for more info.
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