# Rhythm changes > Mediated Wiki article. Canonical URL: https://mediated.wiki/source/Rhythm_changes > Markdown URL: https://mediated.wiki/source/Rhythm_changes.md > Source: https://en.wikipedia.org/wiki/Rhythm_changes > Source revision: 1313874930 > License: Creative Commons Attribution-ShareAlike 4.0 International (https://creativecommons.org/licenses/by-sa/4.0/) {{short description|Common 32-bar chord progression in jazz}} {{Use mdy dates|date=February 2025}} [[File:Rhythm changes complete in B-flat Spitzer.png|thumb|upright=1.4|32-bar rhythm changes in B{{music|b}}, as commonly used for improvisation (slashes indicate [rhythm chordal instrument](/source/rhythm_section) improvised [comping](/source/Comping_(jazz))){{sfnp|Spitzer|2001|p=68}}]] The '''Rhythm changes''' is a common 32-[bar](/source/Bar_(music)) [jazz](/source/jazz) [chord progression](/source/chord_progression) derived from [George Gershwin](/source/George_Gershwin)'s "[I Got Rhythm](/source/I_Got_Rhythm)". The progression is in [AABA form](/source/Thirty-two-bar_form), with each A section based on repetitions of the ubiquitous [I–vi–ii–V](/source/I%E2%80%93vi%E2%80%93ii%E2%80%93V) sequence (or variants such as iii–vi–ii–V), and the B section using a [circle of fifths sequence](/source/Circle_progression) based on III7–VI7–II7–V7, a progression which is sometimes given [passing chord](/source/passing_chord)s. This pattern, "one of the most common vehicles for improvisation,"{{Cite book |last=Dziuba |first=Mark |url=https://www.google.com/books/edition/The_Big_Book_of_Jazz_Guitar_Improvisatio/CO2W7nujcE0C?hl=en&gbpv=0 |title=The Big Book of Jazz Guitar Improvisation |date=2003 |isbn=9780739031728 |pages=140 |access-date=November 15, 2024 |via=[Google Books](/source/Google_Books)}} forms the basis of countless (usually uptempo) jazz [compositions](/source/musical_composition) and was popular with [swing](/source/swing_music)-era and [bebop](/source/bebop) musicians. For example, it is the basis of [Duke Ellington](/source/Duke_Ellington)'s "[Cotton Tail](/source/Cotton_Tail)"{{Cite journal |last=George |first=Luvenia A. |date=May 1999 |title=Duke Ellington the Man and His Music |journal=Music Educators Journal |publisher=[The National Association for Music Education](/source/The_National_Association_for_Music_Education) |volume=85 |issue=6 |pages=15-21}} as well as [Charlie Christian](/source/Charlie_Christian)'s "Seven Come Eleven,"{{Cite book |last=Yaffe |first=David |title=Fascinating rhythm: reading jazz in American writing |date=2006 |publisher=[Princeton University Press](/source/Princeton_University_Press) |isbn=978-0-691-12357-8 |location=Princeton, NJ |pages=17 |quote=As well found in Olav Jullums composition 'Bedroom Leaves.'}} [Dizzy Gillespie](/source/Dizzy_Gillespie)'s "[Salt Peanuts](/source/Salt_Peanuts)," and [Thelonious Monk](/source/Thelonious_Monk)'s "[Rhythm-a-Ning](/source/Rhythm-a-Ning)". The earliest known use of rhythm changes was by [Sidney Bechet](/source/Sidney_Bechet) in his September 15, 1932{{Cite book |last=Rust |first=Brian |author-link=Brian Rust |url=http://mainspringpress.com/book_rust.html |title=Jazz and ragtime records, 1897-1942 |last2=Shaw |first2=Malcolm |date=2002 |publisher=Mainspring Press |isbn=978-0-9671819-2-9 |editor-last=Shaw |editor-first=Malcolm |location=Denver, CO |access-date=November 15, 2024 |archive-url=https://web.archive.org/web/20020210142903/http://mainspringpress.com/book_rust.html |archive-date=February 10, 2002 |url-status=dead}} recording of "Shag" (two years after the first performance of "I Got Rhythm" on Broadway) with his "New Orleans Feetwarmers" group.{{Cite web |title=Rhythm Changes |url=https://www.angelfire.com/fl4/moneychords/rhythmchanges.html |url-status=live |archive-url=https://web.archive.org/web/20231129213606/https://www.angelfire.com/fl4/moneychords/rhythmchanges.html |archive-date=November 29, 2023 |access-date=November 15, 2024 |website=MoneyChords |type=Blog}} In pop culture, "[Meet the Flintstones](/source/Meet_the_Flintstones)", (c. 1960, Curtin/Hanna/Barbera) is based on the rhythm changes, thereby being a [contrafact](/source/contrafact) of "I Got Rhythm". ==History== This progression's endurance in popularity is largely due to its extensive use by early [bebop](/source/bebop) musicians. The chord changes began to be used in the 1930s, became common in the '40s and '50s, and are now ubiquitous.{{Cite book |last=Spitzer |first=Peter |title=Jazz Theory Handbook |publisher=Mel Bay |year=2001 |isbn=0-7866-5328-0 |page=67}} First, "I Got Rhythm" was by then already a popular [jazz standard](/source/jazz_standard). Second, by listening to the song and writing a new melody over its chord changes, thereby creating a composition of a type now known as a [contrafact](/source/contrafact), a jazz musician could claim [copyright](/source/copyright) to the new melody rather than acknowledge Gershwin's inspiration and pay [royalties](/source/royalties) to Gershwin's estate. Third, using a stock, well-known progression for new melodies made it easier to perform a song at [jam session](/source/jam_session)s, shows, and recordings because the bandleader could tell new musicians that the song uses rhythm changes and note any modifications and [chord substitution](/source/chord_substitution)s. For contemporary musicians, mastery of the [12-bar blues](/source/twelve-bar_blues) and rhythm changes chord progressions are "critical elements for building a jazz [repertoire](/source/repertoire)".{{Cite book |last=Thomas |first=John |url=https://www.worldcat.org/title/ocm51851355 |title=Voice leading for guitar: moving through the changes |date=2002 |publisher=[Berklee Press](/source/Berklee_Press); Distributed by [Hal Leonard](/source/Hal_Leonard) |isbn=978-0-634-01655-4 |location=Boston, MA : Milwaukee, Wis |pages=85 |oclc=ocm51851355}} == Chords == The rhythm changes is a [32-bar](/source/thirty-two-bar_form) AABA [form](/source/musical_form) with each section consisting of eight bars, and four 8-bar [sections](/source/section_(music)).{{sfnp|Spitzer|2001|p=81}} In [roman numeral](/source/Roman_numeral_analysis) shorthand, the original chords used in the A section are: :{| class="wikitable" style="text-align:left; width:300px;" |- | width="25%" | I      vi | width="25%" | ii      V | width="25%" | I      vi | width="25%" | ii      V |- |} a 2-bar [phrase](/source/phrase_(music)), [I−vi−ii−V](/source/I%E2%88%92vi%E2%88%92ii%E2%88%92V) (often modified to I–VI–ii–V), played twice, followed by a 4-bar phrase :{| class="wikitable" style="text-align:left; width:300px;" |- | width="25%" | I      I7 | width="25%" | IV     iv | width="25%" | I      V | width="25%" | I |- |} In a [jazz band](/source/jazz_band), these chord changes are usually played in the [key](/source/key_(music)) of B{{music|b}} with various [chord substitution](/source/chord_substitution)s. Here is a typical form for the A section with various common substitutions, including bVII7 in place of the minor iv chord; the addition of a [ii–V progression](/source/Ii%E2%80%93V%E2%80%93I_progression) (Fm7–B{{music|flat}}7) that briefly [tonicizes](/source/Tonicized) the IV chord, E{{music|flat}}; using iii in place of I in bar 7 (the end of the first A section); and using a ii-V-I in place of I-V-I in bars 15 and 16 (the end of the second A section): : { \new ChordNames \with { \override BarLine #'bar-extent = #'(-2 . 2) \consists "Bar_engraver" } \chordmode { \override Score.BarNumber.font-size = #0 \override Score.BarNumber.stencil= #(make-stencil-boxer 0.1 0.25 ly:text-interface::print) \set Score.barNumberVisibility = #all-bar-numbers-visible \bar "" bes2:maj7 g:7 | c:m7 f:7 | bes:maj7 g:7 | c:m7 f:7 | \break f:m7 bes:7 | es:maj7 aes:7 | d:m7 g:7 | c:m7 f:7 \bar "||" bes2:maj7 g:7 | c:m7 f:7 | bes:maj7 g:7 | c:m7 f:7 | \break f:m7 bes:7 | es:maj7 aes:7 | c:m7 f:7 | bes1:maj7 \bar "||" } } The "[bridge](/source/bridge_(music))" consists of a series of [dominant seventh chord](/source/dominant_seventh_chord)s (III7–VI7–II7–V7) that follow the [circle of fourths](/source/circle_of_fourths) ([ragtime progression](/source/ragtime_progression)), sustained for two bars each, greatly slowing the [harmonic rhythm](/source/harmonic_rhythm) as a contrast with the A sections. This is known as the '''{{visible anchor|Sears Roebuck bridge}}''', named after [Sears, Roebuck and Co.](/source/Sears){{Cite book |last=Holbrook |first=Morris B. |title=Playing the Changes on the Jazz Metaphor |date=2008 |publisher=Now Publishers Inc |series=Foundations and trends in marketing |page=104 |issn=1555-0753}} : { \new ChordNames \with { \override BarLine #'bar-extent = #'(-2 . 2) \consists "Bar_engraver" } \chordmode { \override Score.BarNumber.font-size = #0 \override Score.BarNumber.stencil= #(make-stencil-boxer 0.1 0.25 ly:text-interface::print) \set Score.barNumberVisibility = #all-bar-numbers-visible \set Score.currentBarNumber = #17 \bar "" d1:7 | d:7 | g:7 | g:7 | \break c:7 | c:7 | f:7 | f:7 \bar "||" } } The B section is followed by a final A section : { \new ChordNames \with { \override BarLine #'bar-extent = #'(-2 . 2) \consists "Bar_engraver" } \chordmode { \override Score.BarNumber.font-size = #0 \override Score.BarNumber.stencil= #(make-stencil-boxer 0.1 0.25 ly:text-interface::print) \set Score.barNumberVisibility = #all-bar-numbers-visible \set Score.currentBarNumber = #25 \bar "" bes2:maj7 g:7 | c:m7 f:7 | bes:maj7 g:7 | c:m7 f:7 | \break f:m7 bes:7 | es:maj7 aes:7 | c:m7 f:7 | bes1:maj7 \bar "|." } } Variant versions of changes are common due to the popularity of adding interest with [chord substitution](/source/chord_substitution)s, [passing chord](/source/passing_chord)s, and changes of [chord quality](/source/chord_quality). Bebop players, for instance, would often superimpose series of ii–V progressions (passing sequences of [minor seventh](/source/minor_seventh_chord) and [dominant seventh](/source/dominant_seventh) chords) or other substitutions for interesting or in order to discourage less experienced musicians from "sitting in" on the bandstand. The opening I chord was [B{{music|flat}}6](/source/Sixth_chord) in Gershwin's original, but beboppers changed it to [B{{music|flat}}M7](/source/Major_seventh_chord) or [B{{music|flat}}7](/source/Dominant_seventh_chord). For instance, the B section may appear as follows:{{Cite book |last=Rawlins |first=Robert |title=Jazzology: the encyclopedia of jazz theory for all musicians |last2=Bahha |first2=Nor Eddine |last3=Tagliarino |first3=Barrett |date=2005 |publisher=[Hal Leonard](/source/Hal_Leonard) |isbn=978-0-634-08678-6 |location=Milwaukee, WI |pages=128}}Rawlins, Robert and Bahha, Nor Eddine (2005). ''Jazzology: The Encyclopedia of Jazz Theory for All Musicians'', p. 128. {{ISBN|9780634086786}}. : { \new ChordNames \with { \override BarLine #'bar-extent = #'(-2 . 2) \consists "Bar_engraver" } \chordmode { \override Score.BarNumber.font-size = #0 \override Score.BarNumber.stencil= #(make-stencil-boxer 0.1 0.25 ly:text-interface::print) \set Score.barNumberVisibility = #all-bar-numbers-visible \set Score.currentBarNumber = #17 \bar "" a1:m7 | d:7 | d:m7 | g:7 | \break g:m7 | c:7 | c:m7 | f:7 \bar "||" } } An even more adventurous bebop-style substitution is to convert C7 | C7 | F7 | F7 to Gm7 | C7 | Cm7 | F7, and then further develop this substitution by changing this to Am7 D7 | Gm7 C7 | Dm7 G7 | Cm7 F7. ==Examples== [[File:Rhythm changes complete in B-flat Ellis.png|thumb|upright=1.4|32-bar rhythm changes in B{{music|b}}{{Cite book |last=Ellis |first=Herb |title=The Herb Ellis Jazz Guitar Method: Rhythm Shapes |last2=Holmes |first2=Terry |date=1996 |isbn=9781576233412 |pages=4-5}}File:Rhythm changes complete in B-flat Ellis.mid]] The following is a partial list of songs based on the rhythm changes: {| class="wikitable sortable" |+ "Rhythm Changes" contrafacts |- ! Song !! Composer !! Year !! Source |- | "[Anthropology](/source/Anthropology_(composition))" || [Charlie Parker](/source/Charlie_Parker)/[Dizzy Gillespie](/source/Dizzy_Gillespie) || 1946 || |- |"[Cotton Tail](/source/Cotton_Tail)" || [Duke Ellington](/source/Duke_Ellington)||1940|| |- |"Crazeology" || [Benny Harris](/source/Benny_Harris) || ||{{Cite book |last=Levine |first=Mark |url=https://archive.org/details/jazztheorybook00levi |title=The Jazz Theory Book |publisher=Sher Music Co. |year=1995 |isbn=1883217040 |location=Petaluma, California |page=[https://archive.org/details/jazztheorybook00levi/page/n254 237] |oclc=34280067 |url-access=limited}} |- |"Dexterity"||Charlie Parker|||| |- |"The Eternal Triangle"||[Sonny Stitt](/source/Sonny_Stitt)||1957|| |- |"Fungii Mama"||[Blue Mitchell](/source/Blue_Mitchell)||1964||| |- |"Gee" (solo section)||[Gustavo Assis-Brasil](/source/Gustavo_Assis-Brasil)||||{{Cite news |last=James |first=Williams |date=May 30, 2017 |title=Jazz news: Guitar Virtuoso Gustavo Assis-Brasil Wins First Place In Instrumental Category For 2016 International Songwriting Competition (ISC) |url=https://www.allaboutjazz.com/news/guitar-virtuoso-gustavo-assis-brasil-wins-first-place-in-instrumental-category-for-2016-international-songwriting-competition-isc/ |access-date=November 15, 2024 |work=All About Jazz |language=en}} |- |"[Lester Leaps In](/source/Lester_Leaps_In)"||[Lester Young](/source/Lester_Young)||1939|| |- |"[Moose the Mooche](/source/Moose_the_Mooche)"||Charlie Parker||1946|| |- |"[Oleo](/source/Oleo_(composition))"||[Sonny Rollins](/source/Sonny_Rollins)||1954|| |- |"Passport"||Charlie Parker|||| |- |"O Latido do cachorro"||[David Feldman](/source/David_Feldman_(musician))|||| |- |"[Rhythm-A-Ning](/source/Rhythm-A-Ning)"||[Thelonious Monk](/source/Thelonious_Monk)||1957|| |- |"The Serpent's Tooth"||[Miles Davis](/source/Miles_Davis)|||| |- |"Steeplechase"||Charlie Parker|||| |- |"[Straighten Up and Fly Right](/source/Straighten_Up_and_Fly_Right)"||[Nat King Cole](/source/Nat_King_Cole)||1943|| |- |"The Theme"||Miles Davis||1955|| |- |"Tiptoe" ||Thad Jones|| || |} The component A and B sections of rhythm changes were also sometimes used for other tunes. For instance, [Charlie Parker](/source/Charlie_Parker)'s "[Scrapple from the Apple](/source/Scrapple_from_the_Apple)" and [Juan Tizol](/source/Juan_Tizol)'s "[Perdido](/source/Perdido_(song))" both use a different progression for the A section while using the rhythm changes bridge.{{sfnp|Spitzer|2001|p=71}} "Scrapple from the Apple" uses the chord changes of "[Honeysuckle Rose](/source/Honeysuckle_Rose_(song))" for the A section but replaces the B section with III7–VI7–II7–V7. Other tunes use the A section of "Rhythm" but have a different bridge. [Tadd Dameron](/source/Tadd_Dameron)'s "[Good Bait](/source/Good_Bait)" uses the A section of the Rhythm changes and then in the B section it again re-uses the A section of Rhythm Changes but transposed up by a perfect fourth.{{sfnp|Spitzer|2001|p=72}} ==See also== *[Montgomery-Ward bridge](/source/Montgomery-Ward_bridge) ==References== {{reflist}} ==Further reading== *R., Ken (2012). ''DOG EAR Tritone Substitution for Jazz Guitar'', Amazon Digital Services, ASIN: B008FRWNIW {{Chord progressions}} {{Jazz theory}} Category:Jazz standards Category:Jazz terminology Category:Major-key chord progressions --- Adapted from the Wikipedia article [Rhythm changes](https://en.wikipedia.org/wiki/Rhythm_changes) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Rhythm_changes?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.