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
editThis 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]
Chords
editThe rhythm changes is a 32-bar AABA form with each section consisting of eight bars, and four 8-bar sections.[9] In roman numeral shorthand, the original chords used in the A section are:
I vi ii V I vi ii V
a 2-bar phrase, I−vi−ii−V (often modified to I–VI–ii–V), played twice,[10] followed by a 4-bar phrase
I I7 IV iv I V I
In a jazz band, these chord changes are usually played in the key of B♭[7] with various chord substitutions. 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 (Fm7–B♭7) that briefly tonicizes the IV chord, E♭; 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):
The "bridge" consists of a series of dominant seventh chords (III7–VI7–II7–V7) that follow the circle of fourths (ragtime progression), sustained for two bars each, greatly slowing the harmonic rhythm as a contrast with the A sections. This is known as the Sears Roebuck bridge, named after Sears, Roebuck and Co.[11]
The B section is followed by a final A section
Variant versions of changes are common due to the popularity of adding interest with chord substitutions, passing chords and changes of chord quality. Bebop players, for instance, would often superimpose series of ii–V (passing sequences of minor seventh and dominant seventh chords) or other substitutions for interest or in order to discourage less experienced musicians from "sitting in" on the bandstand. The opening I chord was often B♭6 in Gershwin's original, but beboppers changed it to B♭M7 or B♭7. For instance, the B section may appear as follows:[12]
An even more adventurous bebop-style substitution is to convert C7 | C7 | F7 | F7 to Gm7 | C7 | Cm7 | F7, and then to further develop this substitution by changing this to Am7 D7 | Gm7 C7 | Dm7 G7 | Cm7 F7.
Examples
edit
The following is a partial list of songs based on the rhythm changes:
| Title | Artist | Year | Source |
|---|---|---|---|
| Anthropology | Charlie Parker/Dizzy Gillespie | 1946 | [7] |
| Cotton Tail | Duke Ellington | 1940 | [3][4] |
| Crazeology | Benny Harris | [13] | |
| Dexterity | Charlie Parker | [7] | |
| The Eternal Triangle | Sonny Stitt | 1957 | [13] |
| Fungii Mama | Blue Mitchell | 1964 | |
| Gee (solo section) | Gustavo Assis-Brasil | [14] | |
| Lester Leaps In | Lester Young | 1939 | [6] |
| Moose the Mooche | Charlie Parker | 1946 | [6] |
| Oleo | Sonny Rollins | 1954 | [7] |
| Passport | Charlie Parker | [6] | |
| O Latido do cachorro | David Feldman | ||
| Rhythm-A-Ning | Thelonious Monk | 1957 | [6] |
| The Serpent's Tooth | Miles Davis | [13] | |
| Steeplechase | Charlie Parker | [7] | |
| Straighten Up and Fly Right | Nat King Cole | 1943 | [6] |
| The Theme | Miles Davis | 1955 | [13] |
| Tiptoe | Thad Jones | [6] |
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]
See also
editReferences
edit- ^ Spitzer (2001), p. 68.
- ^ Dziuba, Mark (2003). The Big Book of Jazz Guitar Improvisation. p. 140. ISBN 9780739031728. Retrieved 2024-11-15 – via Google Books.
- ^ a b 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.
- ^ a b c d 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.'
- ^ 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.
- ^ a b c d e f g "Rhythm Changes". MoneyChords (Blog). Archived from the original on 2023-11-29. Retrieved 2024-11-15.
- ^ a b c d e f Spitzer, Peter (2001). Jazz Theory Handbook. Mel Bay. p. 67. ISBN 0-7866-5328-0.
- ^ Thomas, John (2002). Voice leading for guitar: moving through the changes. Boston, MA : Milwaukee, Wis: Berklee Press; Distributed by Hal Leonard. p. 85. ISBN 978-0-634-01655-4. OCLC 51851355.
- ^ Spitzer (2001), p. 81.
- ^ a b Ellis, Herb; Holmes, Terry (1996). The Herb Ellis Jazz Guitar Method: Rhythm Shapes. pp. 4–5. ISBN 9781576233412.
- ^ Holbrook, Morris B. (2008). Playing the Changes on the Jazz Metaphor. Foundations and trends in marketing. Now Publishers Inc. p. 104. ISSN 1555-0753.
- ^ Rawlins, Robert; Bahha, Nor Eddine; Tagliarino, Barrett (2005). Jazzology: the encyclopedia of jazz theory for all musicians. Milwaukee, WI: Hal Leonard. p. 128. ISBN 978-0-634-08678-6.Rawlins, Robert and Bahha, Nor Eddine (2005). Jazzology: The Encyclopedia of Jazz Theory for All Musicians, p. 128. ISBN 9780634086786.
- ^ a b c d Levine, Mark (1995). The Jazz Theory Book. Petaluma, California: Sher Music Co. p. 237. ISBN 1883217040. OCLC 34280067.
- ^ James, Williams (2017-05-30). "Jazz news: Guitar Virtuoso Gustavo Assis-Brasil Wins First Place In Instrumental Category For 2016 International Songwriting Competition (ISC)". All About Jazz. Retrieved 2024-11-15.
- ^ Spitzer (2001), p. 71.
- ^ Spitzer (2001), p. 72.
Further reading
edit- R., Ken (2012). DOG EAR Tritone Substitution for Jazz Guitar, Amazon Digital Services, ASIN: B008FRWNIW