Rhythm changes

32-bar rhythm changes in B♭, as commonly used for improvisation (slashes indicate rhythm chordal instrument improvised comping)[1]

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]

  1. ^ Spitzer (2001), p. 68.
  2. ^ Dziuba, Mark (2003). The Big Book of Jazz Guitar Improvisation. p. 140. ISBN 9780739031728. Retrieved 2024-11-15 – via Google Books.
  3. ^ George, Luvenia A. (May 1999). "Duke Ellington the Man and His Music". Music Educators Journal. 85 (6). The National Association for Music Education: 15–21.
  4. ^ a b c Yaffe, David (2006). Fascinating rhythm: reading jazz in American writing. Princeton, NJ: Princeton University Press. p. 17. ISBN 978-0-691-12357-8. As well found in Olav Jullums composition 'Bedroom Leaves.'
  5. ^ Rust, Brian; Shaw, Malcolm (2002). Shaw, Malcolm (ed.). Jazz and ragtime records, 1897-1942. Denver, CO: Mainspring Press. ISBN 978-0-9671819-2-9. Archived from the original on 2002-02-10. Retrieved 2024-11-15.
  6. ^ "Rhythm Changes". MoneyChords (Blog). Archived from the original on 2023-11-29. Retrieved 2024-11-15.