Rhythm Changes

From Fundamentals of Jazz Improvisation:

What Everybody Thinks You Already Know

Dr. Mark Watkins

Director of Jazz Studies
Brigham Young University–Idaho

©2010 by Mark Watkins

Materials herein are provided for personal use. No part may be reproduced
without written permission from the author.
 Original Rhythm
Musicians compositing and performing in jazz, musical theater, R&B, pop, and other idioms were
influence by Gershwin’s tune I Got Rhythm. However, it should be noted that the I (or iii), vi, ii, V,
I common to the A sections of rhythm tunes and the dominant cycle of the bridge are
progressions as old as the advent of our diatonic system. Regardless of the influence, Rhythm
Changes are a common contrafact in jazz. (A contrafact is a new melody written on a pre‐
existing chord progression. Since chord progressions cannot be copyrighted, performers often
write new melodies over progressions on which they enjoy improvising.) Tunes written over
Rhythm Changes are very common; they were especially so in the Swing and Bebop eras. Charlie
Parker has stated that learning blues, rhythm changes, and Cherokee in 12 keys well prepare one
for almost anything.

Original Rhythm is a 32 bar form, AABA. Fundamentally, a two bar I vi | ii V sequence played
four times constitutes the A sections. Bars 5‐6 in Gershwin’s tune are I I7 | IV iv. This set of
chords, with Gershwin’s 5th and 6th bars are the foundation for succeeding contrafacts.

A section:

The b section or bridge is a dominant sequence starting on the mediant cycling every two bars.

B section:

Gershwin’s tune carries a two bar extension not often played with Rhythm Changes contrafacts.
 Original Rhythm: I Got Rhythm (George Gershwin)
A

A
 Options
One of the advantages to Rhythm Changes is its flexibility, similar to the blues. Possibilities are
extensive. Options for bars 1‐2 can be paired with bars 3‐4 options, likewise with bar 5, 6, and
7‐8. All examples with major 7 chords could use major 6 chords and vice versa. One or the other
is usually used consistently throughout the progression.

Set 1: mm. 1‐2 options:

Fundamental I vi ii V

Minor vi changed to VI7

VI and V altered

VI, V, and II altered to create a cycle of dominants

Diminished passing chords substituted for vi and V to create a chromatic bass line

The above progression is usually followed by iii substitute for I in bar 3, thus completing the
bass line.
Set 2: mm. 3‐4 options:

Fundamental I vi ii V

Minor vi changed to VI7

iii substituted for I, creating a cycle of ii Vs

Dominants altered

Set 3: m. 5 options:

Fundamental major I followed by I7

Minor v substituting for I, creating a ii V (blues sound on m. 5)

I7 substituting for major I (blues sound on m. 5)

Set 4: m. 6 options:

Fundamental IV VII7, resolves commonly to I (The IV VII I progression is frequent in many tunes.
Moving to IV in m. 6 is reminiscent of the I to IV progression found in the blues.)

IV7 substituting for major IV, creating cycle motion

Minor iv on beat three substitutes for VII7, IV is major

same substitution with IV7 substituting for major IV

Raised 4th root on beat 3, creates a chromatic root progression; when other notes (3, 5, 7)
remain constant through the measure a diminished chord results.

Set 5: mm. 7‐8 options:

Tonic 6/4 (B‐flat over F) completes either a descending or ascending bass line depending on the
preceding chords

Same principle with iii substituting for I

Possible bass line 1, descending: (Inversions are not usually indicating as below.)

Possible bass line 2, ascending: (Likewise, inversions not always given.)

Fundamental I vi ii V return to top of A section

iii may be substituted for I in all mm. 7‐8 examples

VI7 substitutes for vi

iii substitutes for I, creating a cycle of ii Vs

Dominants altered

II7 substitutes for ii, creating a cycle of dominants

Tonic 6/4, V7 I can conclude 1st or 2nd A section

ii V7 I can conclude 1st or 2nd A section

Set 6: mm. 15‐16 options: m. 16 or mm. 15‐16 usually end on tonic. This final cadence helps
conclude 2nd A section melodic material and facilitates a colorful chromatic mediant contrast to
the bridge.

As above, tonic 6/4, V7 I can conclude 1st or 2nd A section

As above, ii V7 I can conclude 1st or 2nd A section

Tonic is often held for both mm. 15 and 16

All examples of B section (bridge) harmonic sequences can utilize altered dominants.
Bridge 1:

Fundamental cycle of dominant harmonies starting on the chromatic mediant (dominant chord
built on 3rd scale degree of tonic)

Bridge 2:

ii V7 substituted for V7

Bridge 3:

ii V7 substituted for V7 in mm. 17‐18 and 21‐22, creating a sequence of ii V7 Is in mm. 17‐20 and
21‐24
Bridge 4:

Tritone substitutions in mm. 19‐20 and 23‐24 create a descending chromatic sequence

The last A section of Rhythm Changes is usually identical to the 1st A section. Final choruses
often use the 2nd A section to end.

The following grid demonstrates the possibilities of the above examples, which are not all
inclusive; many more possibilities exist.

Practically any group from Set 1 can be combined with any group from Set 2. Any group from
Set 2 can be combined with any group from Set 3, Set 3 to 4, and 4 to 5.

First A section:
Set 1: mm. 1‐2 Set 2: mm. 3‐4 Set 3: m. 5 Set 4: m. 6 Set 5: mm. 7‐8
1
2
3
4
5
6
7

Second A section:

Set 1: mm. 1‐2 Set 2: mm. 3‐4 Set 3: m. 5 Set 4: m. 6 Set 5: mm. 7‐8
1
2
3
4
5
Any Bridge set can be combined with any A section.

Bridge:

Last A section:

Same as First A section when repeating to top of form. Same as Second A section when ending.

Examples
Original Rhythm: I Got Rhythm (George Gershwin)

Swing: Lester Leaps In (Lester Young)

Swing: Cottontail [progression 1] (Duke Ellington)

Swing: Cottontail [progression 2] (Duke Ellington)

Bebop: Anthropology (Charlie Parker)

Bebop: Wee/Allen’s Alley (Denzil Best)

Song Book: Blue Moon (Richard Rodgers and Lorenz Hart)

Hard Bop: Oleo [progression 1] (Sonny Rollins)

Hard Bop: Oleo [progression 2] (Sonny Rollins)

Hard Bop: The Theme (Miles Davis)

Hard bop/Contemporary: The Eternal Triangle (Sonny Stitt)

Contemporary: Third Rail (Michael Brecker)

Original Rhythm: I Got Rhythm (George Gershwin)
Swing: Cottontail [progression 1] (Duke Ellington)
Swing: Cottontail [progression 2] (Duke Ellington)
Swing: Lester leaps In (Lester Young)
Bebop: Anthropology (Charlie Parker)
Bebop: Wee/Allen’s Alley (Denzil Best)
Song Book: Blue Moon (Richard Rodgers and Lorenz Hart)
Hard Bop: Oleo [progression 1] (Sonny Rollins)
Hard Bop: Oleo [progression 2] (Sonny Rollins)
Hard Bop: The Theme (Miles Davis)
Hard Bop/Contemporary: The Eternal Triangle (Sonny Stitt)
Contemporary: Third Rail (Michael Brecker)
 Improvising on Rhythm Changes
There are two contrasting ways to improvise on the A sections of Rhythm Changes: change
running and blanketing. These ways are often combined in a single improvised solo. The bridge
can be played diatonically but lends itself to alterations.

Change Running

1. Patterns standard to one‐measure ii V progressions work well when the vi chord is made VI7
thus forming a iii VI7 ii V7 cycle (cycle of ii V7s: D‐ G7 | C‐ F7).

ii V7 Cycle Example 1:

ii V7 Cycle Example 2:

2. One can give the impression of chord specificity by emphasizing the notes that are most
different. All eight measures can alternate between D and E‐flat as guide tones.

Blanketing

There are two ways to think about blanketing: all eight bars of the A section or in various parts,
as below.
Example 1: Blanketing all eight with major or pentatonics.

Example 2: Blanketing all eight with blues.

Example 3: Split, four bars of Major, four bars of Blues.

Combinations

Example 1: Blanketing, change running into 2nd A.

Example 2: Blanketing, change running into m. 5.

Example 3: Change Running 2nd A, mm. 1‐2 over Jazz Rhythm, Blanketing mm. 3‐4, Running m. 6
into tonic B‐flat before bridge.

Bridge

Blanketing is generally not appropriate for the bridge of Rhythm Changes, although some
examples do exist. One should improvise in a chord specific manner. Simple mixolydian scales
work, as do altered chords/scales. Altered scales can be successful whether or not the harmony
includes them.

The following chart shows a few possibilities:

Rhythm Changes Bridge
Tone Color Choices
 Rhythm Changes Tune List
Rhythm Tunes Rhythm Tunes (cont.) Dizzy Atmosphere [different bridge] (Dizzy
52nd Street Theme (Thelonius Monk) One Bass Hit (Dizzy Gillespie) Gillespie)
Ah‐Leu‐Cha (Miles Davis) Opp‐Bop‐Sha‐Bam (Dizzy Gillespie) Doin’ the Bow Wow [different bridge] (perf.
Almost (David Baker) Oscar for Treadwell, An (Dizzy Gillespie) by Nat King Cole Trio)
Anthropology/Thrivin' From a Riff (Charlie Ow (Charlie Greenlea) Eb [different bridge] (perf. by Nat Cole Trio)
Parker/Dizzy Gillespie) Passport (Charlie Parker) Eternal Triangle [different bridge] (Sonny
Apple Honey (Woody Herman) Pogo Stick Bounce (Eden Ahbez) Stitt)
Bop Kick (Nat King Cole) Raid the Joint (Erskine Hawkins) Father Knickerbopper [different bridge] (Tiny
Boppin' a Riff (Sonny Stitt) Red Cross (Charlie Parker) Kahn)
Brown Gold (Art Pepper) Rhythm in a Riff (Billy Eckstine) Five Brothers [different bridge] (Gerry
Bud's Bubble (Bud Powell) Rhythm Sam (Nat King Cole) Mulligan)
Call the Police (Nat King Cole) Rhythm‐a‐ning (Thelonius Monk) Flying Home [different bridge] (Lionel
Calling Dr. Jazz (Eddie "Lockjaw" Davis) Salt Peanuts (Dizzy Gillespie) Hampton and Benny Goodman)
Celerity (Charlie Parker) Seven Come Eleven (Charlie Christian) For Hecklers Only [different bridge] (Ray
Chant of the Groove (Coleman Hawkins) Shag (Sidney Bechet) Brown/Gil Fuller)
Chasin' the Bird (Charlie Parker) Shaw ‘Nuff (Dizzy Gillespie) Good Bait [different bridge] (Tadd Dameron)
Cheers (Charlie Parker) Shoo Shoo Baby (Phil Moore) Hip Hip Hooray [different bridge] (perf. by
Constellation (Charlie Parker) Solid Potato Salad (DePaul/Prince/Raye) Nat King Cole Trio)
Coolie Rini (Howard McGhee) Sonnyside (Sonny Stitt) Hit That Jive jack [different bridge] (Skeets
Coppin' the Bop (J.J. Johnson) Squatty Roo (Johnny Hodges) Tolbert)
Cottontail (Duke Ellington) Stay On It (Tadd Dameron) Hoy Soy [different bridge] (perf. by Nat King
Delerium (Tadd Dameron) Steeplechase (Charlie Parker) Cole)
Dexter's Deck (Dexter Gordon) Straighten Up and Fly Right (Nat King Cole) I Was Doin’ Alright [different bridge] (George
Dexterity (Charlie Parker) Street Beat, The (C. Thompson / Robert Gershwin)
Don't Be That Way (Edgar Sampson) Mellin) I’m Boppin’ Too [different bridge] (Lorraine
Dorothy (Howard McGhee) Strictly Confidential (Bud Powell) Gillespie)
Dot’s Groovy (Jack Montrose) Swedish Schnapps (Charlie Shavers) Jam Man [A section altered] (Marty Greene)
Down for the Double (Freddie Green) Swing Spring (J.J. Johnson) Jumpin’ with the Mop [different bridge] (perf.
Duel, The (Dexter Gordon) Swingin' with Diane (Art Pepper) by Nat King Cole)
Eb Pob (Fats Navarro/Leo Parker) Syntax (J.J. Johnson) Kim [A section altered] (Charlie Parker)
Everything’s Cool (Bud Powell) Ta‐de‐ah (Nat King Cole) Lollypop [different bridge] (Shorty
Fat Girl (Fats Navarro) Theme, The (Miles Davis) Rogers/Terry Gibbs)
Father Steps In (Dixon/Randall/Hines/Fox) Thriving from a Riff/Anthropology (Charlie Manteca, solo changes [different bridge] Dizzy
Flintstones, The (Hoyt Curtain) Parker) Gillespie)
Fox Hunt (J.J. Johnson) Tiptoe (Thad Jones) Merry‐Go‐Round [different bridge] (Charlie
Goin’ to Minton’s (Fats Navarro) Turnpike (J.J. Johnson) Parker)
Good Queen Bess (Duke Ellington) Wail (Bud Powell) Move [different bridge] (Denzil Best)
Goof and I, The (Al Cohn) Webb City (Bud Powell) Professor Bop (Babs Gonzales)
Hamp's Paws (Hampton Hawes) Wee/Allen's Alley (Dizzy Gillespie) Room 608 [different bridge] (Horace Silver)
Harlem Swing (Nat King Cole) Who's Who (Art Farmer) Scotchin’ with the Soda [different bridge] (W.
Hollerin' and Screamin' (Eddie Davis) Wire Brush Stomp (Gene Krupa) Jack Riley)
I Got Rhythm (George Gershwin) XYZ (Budd Johnson) Serpent’s Tooth, The [different bridge] (Miles
I'm an Errand Boy for Rhythm (Nat King Cole) Yeah Man (J. Russel Robinson) Davis)
In Walked Horace (J.J. Johnson) Altered Rhythm Changes Settin’ the Pace [different bridge] (Dexter
Jay Jay (J.J. Johnson) Air Mail Special [different bridge] (Benny Gordon)
Jaybird (J.J. Johnson) Goodman,/Jimmy Mundy/Charlie Smokey Joe [different bridge] (Van
Jeep is Jumpin', The (Duke Ellington) Christian) Phillips/Emil Ascher
Jug Handle (Gene Ammons) Bop City [different bridge] (Kai Winding) So Sorry Please [different bridge] (Bud
Juggernaut (Gene Ammons) Boperation [different bridge] (Fats Powell)
Juggin' Around (Frank Foster) Navarro/Howard McGhee) Stop the Red Light’s On [different bridge]
Jumpin' at the Woodside (Count Basie) Brownie Speaks [A section altered] (Taps Miller)
Lemon Drop (George Wallington) (Clifford Brown) Swingin’ for Busy [different bridge] (Sonny
Lester Leaps In (Lester Young) Chase, The [different bridge] (Dexter Gordon) Rollins)
Lila Mae (Nat King Cole) Christmas Eve [different bridge] (Slide Symphonette [different bridge] (Tad
Little Man on the White Keys, The (Nat Cole) Hampton) Dameron)
Love You Madly (Duke Ellington) Compulsion [different bridge] (Miles Davis) T’ain’t What Cha Do [different bridge] (Sy
Miss Thing (Count Basie) Could Ja [different bridge] (Carey/Fischer) Oliver)
Moody Speaks (James Moody/Dave Burns) Crazyology [A sections altered] (Benny Take ‘em [different bridge] (perf. by Nat King
Moody's Got Rhythm (James Moody) Harris) Cole Trio)
Moose the Mooche (Charlie Parker) CTA [A sections altered, different bridge] Third Rail [different bridge] (Michael
Mop, Mop (Gaillard/Stewert/Tatum) (Jimmy Heath) Brecker)
Newk's Fadeway (Sonny Rollins) Dexter Digs In [different bridge] (Dexter Tuxedo Junction [different bridge] (Erskine
No Moe (different bridge) (Sonny Rollins) Gordon) Hawkins/Buddy Feyne/William
Northwest Passage (Herman/Jackson/Burns) Dexter’s Cuttin’ Out [different bridge] (Dexter Johnson/Julian Dash)
O Go Mo (Sonny Rollins) Gordon) Wiggly Walk [different bridge]
Oleo (Sonny Rollins) Dixie Jamboree [different bridge] (perf. by Nat (Jacobs/Oppenheim/Palmer)
On the Scene (Gillespie/Fuller/Roberts) King Cole Trio)