Rhythm changes
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]
History[edit]
This progression's endurance in popularity is largely due to its extensive use by early bebop musicians. The chord changes began to be used in the 1930s, became common in the '40s and '50s, and are now ubiquitous.[7] First, "I Got Rhythm" was by then already a popular 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, a jazz musician could claim copyright to the new melody rather than acknowledge Gershwin's inspiration and pay royalties to Gershwin's estate. Third, using a stock, well-known progression for new melodies made it easier to perform a song at jam sessions, shows, and recordings because the bandleader could tell new musicians that the song uses rhythm changes and note any modifications and chord substitutions.
For contemporary musicians, mastery of the 12-bar blues and rhythm changes chord progressions are "critical elements for building a jazz repertoire".[8]
The following is a partial list of songs based on the rhythm changes:
The component A and B sections of rhythm changes were also sometimes used for other tunes. For instance, Charlie Parker's "Scrapple from the Apple" and Juan Tizol's "Perdido" both use a different progression for the A section while using the rhythm changes bridge.[15] "Scrapple from the Apple" uses the chord changes of "Honeysuckle Rose" 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's "Good Bait" uses the A section of the Rhythm changes but a different progression for the bridge.[16]