To fully digest these changes, it makes sense to examine the progression in small chunks and see how it relates to the traditional blues form. First, let’s look at the “Bird” changes below. (Remember, in jazz circles a triangle means a major 7 chord and a dash means minor 7 chord.)
When looking at a traditional 12-bar blues in F, the first four measures are usually an F7 (I) moving to a Bb7 (IV) in measure 5. In this version, Parker works backwards from the IV chord with a series of IIm-V7 moves that descend in whole-steps. Measures 4 and 3 are “major” IIm–V7s, but the second measure uses a “minor” version with a half-diminished chord for the IIm. Finally, Parker changed the chord in the first measure from a dominant 7 to a major 7 to place us squarely in the key of F. (It also helps with voice-leading across the first four measures.)
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Saxophonist Charlie “Bird” Parker was the figurehead of the bebop era. Listen to his relaxed, swinging take on “Blues for Alice,” which is one of his most popular compositions.
Ex. 1 demonstrates one way to navigate the first four measures. Let’s break that down a bit. I stick entirely within the F major scale (F–G–A–Bb–C–D–E) for the first measure. Easy enough. In the second measure, for the sake of simplicity, I am just implying A7 through both chords. The first two beats outline A7 (A–C#–E–G) and the remaining notes are plucked from the A Super Locrian scale (A–Bb–C–Db–Eb–F–G).
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I’m using a similar concept in Ex. 2, working with the F major scale in the first measure and thinking A7 in the second. I’m using the D melodic minor scale (D–E–F–G–A–B–C#) over the third measure while targeting the 3 of Cm7 (Eb) on the downbeat of the fourth measure. To create an altered sound over the F7b9, I use a Gbdim7 arpeggio (Gb–A–C–Eb) to nail the b9 (Gb).
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This next example (Ex. 3) takes cues from great piano players so it requires some quick position shifting. The first shift happens in the first measure, where we move from 5th position up to 8th on the “and” of beat 2. In the second measure, we imply an A7b9 sound using a Bbdim7 (Bb–C–E–G) arpeggio that touches on the #9 (C) and b9 (Bb).
In the second and third measures of this example, we’re basically using the same concept. Because D Dorian (D–E–F–G–A–B–C) and G Mixolydian (G–A–B–C–D–E–F) contain the same notes, we’re simply adding some chromatic passing tones that help the chord tones line up on strong beats. Move the whole concept down a whole-step (to C Dorian/F Mixolydian) for the next measure.
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The next section of a blues in F might look something like: Bb7–Bb7–F7–F7. Or, if you think of a traditional jazz-blues progression, it might be Bb7–Bdim7–F7–D7. Looking ahead, Parker wanted to target the Gm7 in measure 9. What’s the best way to lead into that chord? Simply add a IIm–V before it. Parker used backcycling to create a series of descending IIm-V7 progressions that connect the Bb7 in measure 5 to the Gm7 in measure 9. Rather ingenious, huh?
While these chords are easy enough to play with basic chord forms, it’s much trickier to solo through them in an authentic way.
Ex. 4 uses the Bb Mixolydian scale (Bb–C–D–Eb–F–G–Ab) over the Bb7 before moving to Eb Mixolydian (Eb–F–G–Ab–Bb–C–Db) for Bm7–Eb7. In the third measure, we move to A minor pentatonic (A–C–D–E–G) before coasting through an Abm7 arpeggio (Ab–Cb–Eb–Gb) for the last measure.
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The next lick (Ex. 5) demonstrates how you can use simple melodies to navigate this chord progression. The first measure is a simple lick based on the Bb7 chord, then we create a melody just using the F major scale—it’s all about landing on the Gm7 chord at the right time.
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Our final example over this section (Ex. 6) is just as loose with the chords, but makes sure to hit them as they land. The first measure uses the Bb major pentatonic scale (Bb–C–D–F–G) before using some outside notes that resolve to the root of the Am7 chord. At this point you should be seeing that a big part of the bebop genre is based on rhythm. The mixture of triplets and heavy syncopation is an essential part of the sound.
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The final section of a blues in F usually goes: C7–Bb7–F7–C7, but that’s too basic for beboppers. In Bird blues, we use a two-measure IIm-V7 progression before increasing the harmonic rhythm with F7–D7–Gm7–C7. In Roman numerals, this translates to I7–VI7–IIm7–V7.
I find the best way to play over this section is to remember you’re playing a blues, so some blues scale ideas might not be a bad idea, as shown in Ex. 7. We’ve even included some slight bends!
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This final example (Ex. 8) feels like another melody rather than something clever. Remember, we’re playing music, and often the best music is the type that your audience can sing along to. So don’t be afraid to hold off and play something melodic.
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Lastly, here’s a short backing track to help you practice these ideas, and then come up with some of your own. Keep listening and copying and before long you’ll be soaring like Bird!
The progression consists of two basic sections, which are referred to as A and B. The A section is more intimidating because the harmonic rhythm is a bit quicker with two chords per measure—often played at a brisk tempo. By comparison, the B section is much easier with each chord lasting two measures each. Since the introduction of this progression, many jazz musicians have added various substitutions, but check out the chart below for a generally accepted version and the basis for our examples.
While the A section does use some substitutions, it can be thought of as I–VI–IIm–V. In the key of Bb that would be Bbmaj7–G7–Cm7–F7. Ex. 1 shows you how a jazz guitarist might approach this progression. There are a lot of notes that outline the changes here, but I’m playing a Bb triad (Bb–D–F) over the Bb, a G7b9 arpeggio (G–B–D–F–Ab) over the G7, and just connecting chord tones over the Cm7 and F7 chords. The principle idea is very simple, but executing it on the fly and at speed will feel nearly impossible to someone with a background exclusively in blues.
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Ex. 2 is more of the same, but this time we move higher up the neck. The vocabulary is very similar though, sticking closely to the chords and using diminished arpeggios to imply 7b9 sounds.
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It’s also possible to play convincingly over rhythm changes using more of a blues feel. In Ex. 3, we are using a lot of the Bb blues scale (Bb–Db–Eb–E–F–Ab). While a purist might argue these notes don’t fit the chords, the golden rule applies: If it sounds good, it is. If you like it, keep playing!
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Ex. 4 dials it back a little with bigger bends and slides. I’m even throwing in a country-inspired bend going into the third measure. We stick with the Bb minor pentatonic (Bb–Db–Eb–F–Ab) with hints of the blues scale and b5 (E).
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Ex. 5 uses the concept of tension and release. I’m thinking in major for the first measure, then minor in the second, then back to major, and again back to minor. This doesn’t outline the changes too tightly, but does give a super bluesy sound. I added the double-stops in the second measure for a bit of spice.
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We are also using the major/minor theme in Ex. 6, but this time we’re moving between Bb major pentatonic (Bb–C–D–F–G) and Bb minor pentatonic (Bb–Db–Eb–F–Ab). The triplet run can be a technical challenge, so take it slow.
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The B section presents its own challenges. The pace of the changes has decreased, but this slow speed means that playing sounds that don’t really fit the changes will stand out. In Ex. 7 the basic concept is to work a simple idea through a series of dominant 7 chords. We’ll start with the “E” shape of the CAGED system and move it up and down the neck to outline D7, G7, C7, and F7, respectively.
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Ex. 8 takes that basic idea, but focuses more tightly on one area of the neck. Over the D7, we’re using more dominant-sounding vocabulary around the “E” shape, which resolves to the “A” shape (also at the 10th fret) for the G7 chord. This concept is then shifted down two frets to outline the C7 and F7. As with the previous example, this idea resolves to a gritty Bb minor pentatonic phrase.
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We channel a little more blues vocabulary with some Clapton and SRV influences in Ex. 9. Over the D7 we’re playing obvious D minor pentatonic (D–F–G–A–C) vibes before moving to a figure based around the G major pentatonic scale (G–A–B–D–E). We then move to C Mixolydian over the C7 (C–D–E–F–G–A–Bb), and F Mixolydian (F–G–A–Bb–C–D–Eb) over the F7 before resolving to some Bb blues moves.
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Finally, no bebop-influenced column would be complete without some complex double-time ideas (Ex. 10). The line is simple, just played at twice the speed. For the most part it’s based on the Mixolydian scale with an added b3. We spice things up with some C Lydian Dominant (C–D–E–F#–G–A–Bb) on the C7, and some F Super Locrian on the F7 (F–Gb–Ab–A–B–Db–Eb) before resolving to the Bbmaj7.
That one isn’t for the faint of heart, but all good fun!
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Finally, here’s a full chorus of rhythm changes for you to practice over and explore some of these ideas.
