Rhythm changes is a common 32-bar jazz chord progression derived from George Gershwin's "I Got Rhythm". The progression is in AABA form, with each A section based on repetitions of the ubiquitous I–vi–ii–V sequence (or variants such as iii–vi–ii–V), and the B section using a circle of fifths sequence based on III7–VI7–II7–V7, a progression which is sometimes given passing chords.
This pattern, "one of the most common vehicles for improvisation,"[2] forms the basis of countless (usually uptempo) jazz compositions and was popular with swing-era and bebop musicians. For example, it is the basis of Duke Ellington's "Cotton Tail"[3] as well as Charlie Christian's "Seven Come Eleven,"[4] Dizzy Gillespie's "Salt Peanuts,"[4] and Thelonious Monk's "Rhythm-a-Ning".[4] The earliest known use of rhythm changes was by Sidney Bechet in his September 15, 1932[5] recording of "Shag" (two years after the first performance of "I Got Rhythm" on Broadway) with his "New Orleans Feetwarmers" group.[6]
- ^ Spitzer (2001), p. 68.
- ^ Dziuba, Mark (2003). The Big Book of Jazz Guitar Improvisation, p. 140. ISBN 9780739031728.
- ^ "Duke Ellington the Man and His Music", p.20. Luvenia A. George. Music Educators Journal, Vol. 85, No. 6 (May, 1999), pp. 15–21. Published by: MENC: The National Association for Music Education.
- ^ a b c Yaffe, David (2005). As well found in Olav Jullums composition "bedroom leavs". Fascinating Rhythm: Reading Jazz in American Writing, p. 17. ISBN 0-691-12357-8.
- ^ Rust, Brian, Jazz and Ragtime Records, 1897–1942 Archived 2009-02-09 at the Wayback Machine, Mainspring Press, 2008.
- ^ "Rhythm Changes," MoneyChords (angelfire.com). Includes an extensive listing of tunes utilizing these chord changes.