It evolves based on what has been done before. that is called 'culture', or musical culture. The first case is part of the 'real artist steal' universe and is part of the basis of our whole culture, something is inspired by something + creativity, which is inspired by something + creativity etc etc. Put it in your DAW, copy 'scientifically' the groove, structure, and melody and chords, and change a couple of things just to try be on the safe side. Totally use another track as a reference. It could be a similar melody, chord progression, just overall vibe. Accidentally or knowingly come up with something similar, in some aspects, to something else. It takes me back to the days of wanting to write a master thesis related to psychoacoustics (I ended up writing about improving methods for calculating indoor sound levels, instead - not as fascinating.) Sidenote I do find it very fascinating that where I see remarkable similarities there are others here that doesn't see any. Personally however, if I used this Blakus-piece as inspiration I couldn't imagine myself accepting that this is my own creation, and I'm quite certain I'd also properly underline whatever I drew inspiration from - the same way I see Blakus did in this thread when talking about his piece. I won't go into the whole plagiarism-debate, perhaps such choices and thoughts are simply more personality-based - it's hard to objectify and therein I suppose the problem lies. If you are inspired by someone, and perhaps even wants to emulate that type of sound, your integrity would also be that inner voice demanding that you use your own creativity and musical talent to ensure a piece of music that where you can proudly and loudly say 'I was inspired by ', and still feel comfortable with it being your own creative work. In my mind, inspiration and respect goes hand in hand with artistic integrity. To name just a handful 'Rhythm changes' jazz tunes (but there are many, many more): Anthropology, Lester Leaps In, Oleo, Scrapple From The Apple, Steeplechase, Allen’s Alley, The Theme (M. Ellington has a few compositions that use those changes). Perhaps also worth mentioning that the use of 'Rhythm changes' as a harmonic skeleton for a new jazz tune was already happening quite frequently before bebop arrived (a.o.

Now, during the early years of bebop, musicians began to experiment with (increasingly sophisticated) chord substitutions for standard chord transitions which means that the source of the “Rhythm changes” - the original Gershwin chord progression - is not always instantly recognizeable on the surface, but it’s there alright in several dozens of jazz tunes. (A jazz musician is expected to know these changes inside-out, and in every key, if he or she hopes to last longer than 10 seconds in a jam session.) What you're talking about is called the “Rhythm changes”, and it refers to a chord progression that’s based on, or derived from Gershwin’s “I’ve Got Rhythm”. Upper structure triads can also be used to create more tension and strengthen the sense of resolution for each chord change.Entirely true, Mike. We can use half step chromatic approach chords in between each of the chord changed to create more harmonic impact. This harmonic and melodic situation is particularly well suited to passing chords. Passing Chords For 3625 Progressionsīars 5 to 8 of the A Section contain 2 back-to-back 3625 progressions with the chord changes on the half beat and the melody on the quarter beat. A half step above D- is Eb so we would play some kind of Eb7 chord and we now have the progression E-7b5 to A7 to Eb7 to D. This passage can be further enhanced with a chromatic dominant passing chord into the D-7. Remember that with minor 251s the ii chord is usually voices as a -7b5 chord. The A7 is functioning as the V7 chord of D- and so we can approach the A7 with E-7b5 to create a full 251 progression. The first opportunity that I spot to add a passing chord is in the second bar of the tune where we have an A7 chord for the entire bar moving to D- in bar 3. Approaching V7 Chords with the Related ii-7 Chord The A Section of the tune repeats 3 times and so passing chords can be used to add interest and variety to otherwise identical harmonic passages. Understand that we don’t have to play passing chords but they are an option. We are now going to focus on the harmony of the tune and apply passing chords in addition to the regular chord changes.

In the previous lessons we have studied the basic harmony of the tune “Georgia On My Mind” and we introduced a simple left hand stride style with right hand melodic embellishments. In this lesson we will explore the concept of passing chords.

Georgia on my mind chord progression