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<title>Rhythm changes</title>

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<span id="openzim-page-title" class="mw-page-title-main"><span class="mw-page-title-main">Rhythm changes</span></span>

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<p>The <b>Rhythm changes</b> is a common 32-<a href="Bar_(music)" title="Bar (music)">bar</a> <a href="Jazz" title="Jazz">jazz</a> <a href="Chord_progression" title="Chord progression">chord progression</a> derived from <a href="George_Gershwin" title="George Gershwin">George Gershwin</a>'s "<a href="I_Got_Rhythm" title="I Got Rhythm">I Got Rhythm</a>". The progression is in <a href="Thirty-two-bar_form" title="Thirty-two-bar form">AABA form</a>, with each A section based on repetitions of the ubiquitous <a href="I%E2%80%93vi%E2%80%93ii%E2%80%93V" class="mw-redirect" title="I–vi–ii–V">I–vi–ii–V</a> sequence (or variants such as iii–vi–ii–V), and the B section using a <a href="Circle_progression" class="mw-redirect" title="Circle progression">circle of fifths sequence</a> based on III<sup>7</sup>–VI<sup>7</sup>–II<sup>7</sup>–V<sup>7</sup>, a progression which is sometimes given <a href="Passing_chord" title="Passing chord">passing chords</a>.

</p><p>This pattern, "one of the most common vehicles for improvisation,"<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> forms the basis of countless (usually uptempo) jazz <a href="Musical_composition" title="Musical composition">compositions</a> and was popular with <a href="Swing_music" title="Swing music">swing</a>-era and <a href="Bebop" title="Bebop">bebop</a> musicians. For example, it is the basis of <a href="Duke_Ellington" title="Duke Ellington">Duke Ellington</a>'s "<a href="Cotton_Tail" title="Cotton Tail">Cotton Tail</a>"<sup id="cite_ref-Luvenia_3-0" class="reference"><a href="#cite_note-Luvenia-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> as well as <a href="Charlie_Christian" title="Charlie Christian">Charlie Christian</a>'s "Seven Come Eleven,"<sup id="cite_ref-Yaffe_4-0" class="reference"><a href="#cite_note-Yaffe-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> <a href="Dizzy_Gillespie" title="Dizzy Gillespie">Dizzy Gillespie</a>'s "<a href="Salt_Peanuts" title="Salt Peanuts">Salt Peanuts</a>,"<sup id="cite_ref-Yaffe_4-1" class="reference"><a href="#cite_note-Yaffe-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> and <a href="Thelonious_Monk" title="Thelonious Monk">Thelonious Monk</a>'s "<a href="Rhythm-a-Ning" class="mw-redirect" title="Rhythm-a-Ning">Rhythm-a-Ning</a>".<sup id="cite_ref-Yaffe_4-2" class="reference"><a href="#cite_note-Yaffe-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> The earliest known use of rhythm changes was by <a href="Sidney_Bechet" title="Sidney Bechet">Sidney Bechet</a> in his September 15, 1932<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> recording of "Shag" (two years after the first performance of "I Got Rhythm" on Broadway) with his "New Orleans Feetwarmers" group.<sup id="cite_ref-money_6-0" class="reference"><a href="#cite_note-money-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup>

</p><p>In pop culture, "<a href="Meet_the_Flintstones" title="Meet the Flintstones">Meet the Flintstones</a>", (c. 1960, Curtin/Hanna/Barbera) is based on the rhythm changes, thereby being a <a href="Contrafact" title="Contrafact">contrafact</a> of "I Got Rhythm".

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<div class="mw-heading mw-heading2"><h2 id="History">History</h2></div>

<p>This progression's endurance in popularity is largely due to its extensive use by early <a href="Bebop" title="Bebop">bebop</a> musicians. The chord changes began to be used in the 1930s, became common in the '40s and '50s, and are now ubiquitous.<sup id="cite_ref-Spitzer_7-0" class="reference"><a href="#cite_note-Spitzer-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> First, "I Got Rhythm" was by then already a popular <a href="Jazz_standard" title="Jazz standard">jazz standard</a>. 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 <a href="Contrafact" title="Contrafact">contrafact</a>, a jazz musician could claim <a href="Copyright" title="Copyright">copyright</a> to the new melody rather than acknowledge Gershwin's inspiration and pay <a href="Royalties" class="mw-redirect" title="Royalties">royalties</a> to Gershwin's estate. Third, using a stock, well-known progression for new melodies made it easier to perform a song at <a href="Jam_session" title="Jam session">jam sessions</a>, shows, and recordings because the bandleader could tell new musicians that the song uses rhythm changes and note any modifications and <a href="Chord_substitution" title="Chord substitution">chord substitutions</a>.

</p><p>For contemporary musicians, mastery of the <a href="Twelve-bar_blues" title="Twelve-bar blues">12-bar blues</a> and rhythm changes chord progressions are "critical elements for building a jazz <a href="Repertoire" title="Repertoire">repertoire</a>".<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading2"><h2 id="Chords">Chords</h2></div>

<p>The rhythm changes is a <a href="Thirty-two-bar_form" title="Thirty-two-bar form">32-bar</a> AABA <a href="Musical_form" title="Musical form">form</a> with each section consisting of eight bars, and four 8-bar <a href="Section_(music)" title="Section (music)">sections</a>.<sup id="cite_ref-FOOTNOTESpitzer200181_9-0" class="reference"><a href="#cite_note-FOOTNOTESpitzer200181-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> In <a href="Roman_numeral_analysis" title="Roman numeral analysis">roman numeral</a> shorthand, the original chords used in the A section are:

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<td width="25%">I      vi

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<td width="25%">ii      V

</td>

<td width="25%">I      vi

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<td width="25%">ii      V

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</tbody></table></dd></dl>

<p>a 2-bar <a href="Phrase_(music)" title="Phrase (music)">phrase</a>, <a href="I%E2%88%92vi%E2%88%92ii%E2%88%92V" class="mw-redirect" title="I−vi−ii−V">I−vi−ii−V</a> (often modified to I–VI–ii–V), played twice,<sup id="cite_ref-Ellis_10-0" class="reference"><a href="#cite_note-Ellis-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> followed by a 4-bar phrase

</p>

</td>

<td width="25%">IV     iv

</td>

<td width="25%">I      V

</td>

<td width="25%">I

</td></tr>

</tbody></table></dd></dl>

<p>In a <a href="Jazz_band" title="Jazz band">jazz band</a>, these chord changes are usually played in the <a href="Key_(music)" title="Key (music)">key</a> of B<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span><sup id="cite_ref-Spitzer_7-1" class="reference"><a href="#cite_note-Spitzer-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> with various <a href="Chord_substitution" title="Chord substitution">chord substitutions</a>. Here is a typical form for the A section with various common substitutions, including bVII<sup>7</sup> in place of the minor iv chord; the addition of a <a href="Ii%E2%80%93V%E2%80%93I_progression" title="Ii–V–I progression">ii–V progression</a> (Fm<sup>7</sup>–B<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span><sup>7</sup>) that briefly <a href="Tonicized" class="mw-redirect" title="Tonicized">tonicizes</a> the IV chord, E<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span>; 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):

</p>

<p>The "<a href="Bridge_(music)" title="Bridge (music)">bridge</a>" consists of a series of <a href="Dominant_seventh_chord" title="Dominant seventh chord">dominant seventh chords</a> (III<sup>7</sup>–VI<sup>7</sup>–II<sup>7</sup>–V<sup>7</sup>) that follow the <a href="Circle_of_fourths" class="mw-redirect" title="Circle of fourths">circle of fourths</a> (<a href="Ragtime_progression" title="Ragtime progression">ragtime progression</a>), sustained for two bars each, greatly slowing the <a href="Harmonic_rhythm" title="Harmonic rhythm">harmonic rhythm</a> as a contrast with the A sections. This is known as the <b><style data-mw-deduplicate="TemplateStyles:r1238216509">

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</style><span class="vanchor"><span class="vanchor-text">Sears Roebuck bridge</span></span></b>, named after <a href="Sears" title="Sears">Sears, Roebuck and Co.</a><sup id="cite_ref-Holbrook_11-0" class="reference"><a href="#cite_note-Holbrook-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup>

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<p>The B section is followed by a final A section

</p>

<p>Variant versions of changes are common due to the popularity of adding interest with <a href="Chord_substitution" title="Chord substitution">chord substitutions</a>, <a href="Passing_chord" title="Passing chord">passing chords</a>, and changes of <a href="Chord_quality" class="mw-redirect" title="Chord quality">chord quality</a>. Bebop players, for instance, would often superimpose series of ii–V progressions (passing sequences of <a href="Minor_seventh_chord" title="Minor seventh chord">minor seventh</a> and <a href="Dominant_seventh" class="mw-redirect" title="Dominant seventh">dominant seventh</a> 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 <a href="Sixth_chord" title="Sixth chord">B<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span><sup>6</sup></a> in Gershwin's original, but beboppers changed it to <a href="Major_seventh_chord" title="Major seventh chord">B<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span><sup>M7</sup></a> or <a href="Dominant_seventh_chord" title="Dominant seventh chord">B<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span><sup>7</sup></a>. For instance, the B section may appear as follows:<sup id="cite_ref-R&B_12-0" class="reference"><a href="#cite_note-R&B-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup>

</p>

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<div class="mw-heading mw-heading2"><h2 id="Examples">Examples</h2></div>

<p>The following is a partial list of songs based on the rhythm changes:

</p>

<caption>"Rhythm Changes" contrafacts

</caption>

<th>Title</th>

<th>Artist</th>

<th>Source

</th></tr>

<tr>

<td><a href="Anthropology_(composition)" title="Anthropology (composition)">Anthropology</a></td>

<td><a href="Charlie_Parker" title="Charlie Parker">Charlie Parker</a>/<a href="Dizzy_Gillespie" title="Dizzy Gillespie">Dizzy Gillespie</a></td>

</td></tr>

<tr>

<td><a href="Cotton_Tail" title="Cotton Tail">Cotton Tail</a></td>

<td><a href="Duke_Ellington" title="Duke Ellington">Duke Ellington</a></td>

</td></tr>

<tr>

<td>Crazeology</td>

<td><a href="Benny_Harris" title="Benny Harris">Benny Harris</a></td>

</td></tr>

<tr>

<td>Dexterity</td>

<td>Charlie Parker</td>

</td></tr>

<tr>

<td><a href="Sonny_Side_Up" title="Sonny Side Up">The Eternal Triangle</a></td>

<td><a href="Sonny_Stitt" title="Sonny Stitt">Sonny Stitt</a></td>

</td></tr>

<tr>

<td><a href="The_Thing_to_Do_(album)" title="The Thing to Do (album)">Fungii Mama</a></td>

<td><a href="Blue_Mitchell" title="Blue Mitchell">Blue Mitchell</a></td>

<td>

</td></tr>

<tr>

<td>Gee (solo section)</td>

<td><a href="Gustavo_Assis-Brasil" title="Gustavo Assis-Brasil">Gustavo Assis-Brasil</a></td>

</td></tr>

<tr>

<td><a href="Lester_Leaps_In" title="Lester Leaps In">Lester Leaps In</a></td>

<td><a href="Lester_Young" title="Lester Young">Lester Young</a></td>

</td></tr>

<tr>

<td><a href="Moose_the_Mooche" title="Moose the Mooche">Moose the Mooche</a></td>

<td>Charlie Parker</td>

</td></tr>

<tr>

<td><a href="Sonny_Rollins" title="Sonny Rollins">Sonny Rollins</a></td>

</td></tr>

<tr>

<td><a href="Bird_and_Diz" title="Bird and Diz">Passport</a></td>

<td>Charlie Parker</td>

</td></tr>

<tr>

<td>O Latido do cachorro</td>

<td><a href="David_Feldman_(musician)" title="David Feldman (musician)">David Feldman</a></td>

<td>

</td></tr>

<tr>

<td><a href="Rhythm-A-Ning" class="mw-redirect" title="Rhythm-A-Ning">Rhythm-A-Ning</a></td>

<td><a href="Thelonious_Monk" title="Thelonious Monk">Thelonious Monk</a></td>

</td></tr>

<tr>

<td>The Serpent's Tooth</td>

<td><a href="Miles_Davis" title="Miles Davis">Miles Davis</a></td>

</td></tr>

<tr>

<td>Steeplechase</td>

<td>Charlie Parker</td>

</td></tr>

<tr>

<td><a href="Straighten_Up_and_Fly_Right" title="Straighten Up and Fly Right">Straighten Up and Fly Right</a></td>

</td></tr>

<tr>

<td>The Theme</td>

<td>Miles Davis</td>

</td></tr>

<tr>

<td>Tiptoe</td>

<td>Thad Jones</td>

</td></tr></tbody></table>

<p>The component A and B sections of rhythm changes were also sometimes used for other tunes. For instance, <a href="Charlie_Parker" title="Charlie Parker">Charlie Parker</a>'s "<a href="Scrapple_from_the_Apple" title="Scrapple from the Apple">Scrapple from the Apple</a>" and <a href="Juan_Tizol" title="Juan Tizol">Juan Tizol</a>'s "<a href="Perdido_(song)" title="Perdido (song)">Perdido</a>" both use a different progression for the A section while using the rhythm changes bridge.<sup id="cite_ref-FOOTNOTESpitzer200171_15-0" class="reference"><a href="#cite_note-FOOTNOTESpitzer200171-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> "Scrapple from the Apple" uses the chord changes of "<a href="Honeysuckle_Rose_(song)" title="Honeysuckle Rose (song)">Honeysuckle Rose</a>" for the A section but replaces the B section with III<sup>7</sup>–VI<sup>7</sup>–II<sup>7</sup>–V<sup>7</sup>.

</p><p>Other tunes use the A section of "Rhythm" but have a different bridge. <a href="Tadd_Dameron" title="Tadd Dameron">Tadd Dameron</a>'s "<a href="Good_Bait" title="Good Bait">Good Bait</a>" 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.<sup id="cite_ref-FOOTNOTESpitzer200172_16-0" class="reference"><a href="#cite_note-FOOTNOTESpitzer200172-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup>

</p>

<ul><li><a href="Montgomery-Ward_bridge" title="Montgomery-Ward bridge">Montgomery-Ward bridge</a></li></ul>

<div class="mw-heading mw-heading2"><h2 id="References">References</h2></div>

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<li id="cite_note-FOOTNOTESpitzer200168-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTESpitzer200168_1-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFSpitzer2001">Spitzer (2001)</a>, p. 68.</span>

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</style><cite id="CITEREFDziuba2003" class="citation book cs1">Dziuba, Mark (2003). <a rel="nofollow" class="external text" href="https://www.google.com/books/edition/The_Big_Book_of_Jazz_Guitar_Improvisatio/CO2W7nujcE0C?hl=en&gbpv=0"><i>The Big Book of Jazz Guitar Improvisation</i></a>. p. 140. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9780739031728</bdi><span class="reference-accessdate">. Retrieved <span class="nowrap">November 15,</span> 2024</span> – via <a href="Google_Books" title="Google Books">Google Books</a>.</cite></span>

</li>

<li id="cite_note-Luvenia-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-Luvenia_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Luvenia_3-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><cite id="CITEREFGeorge1999" class="citation journal cs1">George, Luvenia A. (May 1999). "Duke Ellington the Man and His Music". <i>Music Educators Journal</i>. <b>85</b> (6). <a href="The_National_Association_for_Music_Education" class="mw-redirect" title="The National Association for Music Education">The National Association for Music Education</a>: <span class="nowrap">15–</span>21.</cite></span>

</li>

<li id="cite_note-Yaffe-4"><span class="mw-cite-backlink">^ <a href="#cite_ref-Yaffe_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Yaffe_4-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Yaffe_4-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Yaffe_4-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><cite id="CITEREFYaffe2006" class="citation book cs1">Yaffe, David (2006). <i>Fascinating rhythm: reading jazz in American writing</i>. Princeton, NJ: <a href="Princeton_University_Press" title="Princeton University Press">Princeton University Press</a>. p. 17. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-691-12357-8</bdi>. <q>As well found in Olav Jullums composition 'Bedroom Leaves.'</q></cite></span>

</li>

<li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><cite id="CITEREFRustShaw2002" class="citation book cs1"><a href="Brian_Rust" title="Brian Rust">Rust, Brian</a>; Shaw, Malcolm (2002). Shaw, Malcolm (ed.). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20020210142903/http://mainspringpress.com/book_rust.html"><i>Jazz and ragtime records, 1897-1942</i></a>. Denver, CO: Mainspring Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-9671819-2-9</bdi>. Archived from <a rel="nofollow" class="external text" href="http://mainspringpress.com/book_rust.html">the original</a> on February 10, 2002<span class="reference-accessdate">. Retrieved <span class="nowrap">November 15,</span> 2024</span>.</cite></span>

</li>

<li id="cite_note-money-6"><span class="mw-cite-backlink">^ <a href="#cite_ref-money_6-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-money_6-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-money_6-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-money_6-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-money_6-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-money_6-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-money_6-6"><sup><i><b>g</b></i></sup></a></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.angelfire.com/fl4/moneychords/rhythmchanges.html">"Rhythm Changes"</a>. <i>MoneyChords</i> (Blog). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231129213606/https://www.angelfire.com/fl4/moneychords/rhythmchanges.html">Archived</a> from the original on November 29, 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">November 15,</span> 2024</span>.</cite></span>

</li>

<li id="cite_note-Spitzer-7"><span class="mw-cite-backlink">^ <a href="#cite_ref-Spitzer_7-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Spitzer_7-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Spitzer_7-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Spitzer_7-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Spitzer_7-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Spitzer_7-5"><sup><i><b>f</b></i></sup></a></span> <span class="reference-text"><cite id="CITEREFSpitzer2001" class="citation book cs1">Spitzer, Peter (2001). <i>Jazz Theory Handbook</i>. Mel Bay. p. 67. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-7866-5328-0</bdi>.</cite></span>

</li>

<li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text"><cite id="CITEREFThomas2002" class="citation book cs1">Thomas, John (2002). <a rel="nofollow" class="external text" href="https://www.worldcat.org/title/ocm51851355"><i>Voice leading for guitar: moving through the changes</i></a>. Boston, MA : Milwaukee, Wis: <a href="Berklee_Press" class="mw-redirect" title="Berklee Press">Berklee Press</a>; Distributed by <a href="Hal_Leonard" title="Hal Leonard">Hal Leonard</a>. p. 85. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-634-01655-4</bdi>. <a href="OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/51851355">51851355</a>.</cite></span>

</li>

<li id="cite_note-FOOTNOTESpitzer200181-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTESpitzer200181_9-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFSpitzer2001">Spitzer (2001)</a>, p. 81.</span>

</li>

<li id="cite_note-Ellis-10"><span class="mw-cite-backlink">^ <a href="#cite_ref-Ellis_10-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Ellis_10-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><cite id="CITEREFEllisHolmes1996" class="citation book cs1">Ellis, Herb; Holmes, Terry (1996). <i>The Herb Ellis Jazz Guitar Method: Rhythm Shapes</i>. pp. <span class="nowrap">4–</span>5. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9781576233412</bdi>.</cite></span>

</li>

<li id="cite_note-Holbrook-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-Holbrook_11-0">^</a></b></span> <span class="reference-text"><cite id="CITEREFHolbrook2008" class="citation book cs1">Holbrook, Morris B. (2008). <i>Playing the Changes on the Jazz Metaphor</i>. Foundations and trends in marketing. Now Publishers Inc. p. 104. <a href="ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/1555-0753">1555-0753</a>.</cite></span>

</li>

<li id="cite_note-R&B-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-R&B_12-0">^</a></b></span> <span class="reference-text"><cite id="CITEREFRawlinsBahhaTagliarino2005" class="citation book cs1">Rawlins, Robert; Bahha, Nor Eddine; Tagliarino, Barrett (2005). <i>Jazzology: the encyclopedia of jazz theory for all musicians</i>. Milwaukee, WI: <a href="Hal_Leonard" title="Hal Leonard">Hal Leonard</a>. p. 128. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-634-08678-6</bdi>.</cite>Rawlins, Robert and Bahha, Nor Eddine (2005). <i>Jazzology: The Encyclopedia of Jazz Theory for All Musicians</i>, p. 128. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9780634086786</bdi>.</span>

</li>

<li id="cite_note-:0-13"><span class="mw-cite-backlink">^ <a href="#cite_ref-:0_13-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:0_13-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-:0_13-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-:0_13-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><cite id="CITEREFLevine1995" class="citation book cs1">Levine, Mark (1995). <span class="id-lock-limited" title="Free access subject to limited trial, subscription normally required"><a rel="nofollow" class="external text" href="https://archive.org/details/jazztheorybook00levi"><i>The Jazz Theory Book</i></a></span>. Petaluma, California: Sher Music Co. p. <a rel="nofollow" class="external text" href="https://archive.org/details/jazztheorybook00levi/page/n254">237</a>. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>1883217040</bdi>. <a href="OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/34280067">34280067</a>.</cite></span>

</li>

<li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text"><cite id="CITEREFJames2017" class="citation news cs1">James, Williams (May 30, 2017). <a rel="nofollow" class="external text" href="https://www.allaboutjazz.com/news/guitar-virtuoso-gustavo-assis-brasil-wins-first-place-in-instrumental-category-for-2016-international-songwriting-competition-isc/">"Jazz news: Guitar Virtuoso Gustavo Assis-Brasil Wins First Place In Instrumental Category For 2016 International Songwriting Competition (ISC)"</a>. <i>All About Jazz</i><span class="reference-accessdate">. Retrieved <span class="nowrap">November 15,</span> 2024</span>.</cite></span>

</li>

<li id="cite_note-FOOTNOTESpitzer200171-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTESpitzer200171_15-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFSpitzer2001">Spitzer (2001)</a>, p. 71.</span>

</li>

<li id="cite_note-FOOTNOTESpitzer200172-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTESpitzer200172_16-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFSpitzer2001">Spitzer (2001)</a>, p. 72.</span>

</li>

</ol></div></div>

<div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2></div>

<ul><li>R., Ken (2012). <i>DOG EAR Tritone Substitution for Jazz Guitar</i>, Amazon Digital Services, ASIN: B008FRWNIW</li></ul>

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</style><div id="Chord_progressions100" style="font-size:114%;margin:0 4em"><a href="Chord_progression" title="Chord progression">Chord progressions</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Terminology</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Bridge_(music)" title="Bridge (music)">Bridge</a></li>

<li><a href="Cadence_(music)" class="mw-redirect" title="Cadence (music)">Cadence</a></li>

<li><a href="Glossary_of_jazz_and_popular_music#C" title="Glossary of jazz and popular music">Changes</a></li>

<li><a href="Constant_structure" title="Constant structure">Constant structure</a></li>

<li><a href="Double_tonic" title="Double tonic">Double tonic</a></li>

<li><a href="Roman_numeral_analysis" title="Roman numeral analysis">Notation <span style="font-size: 85%;">(Roman-numeral)</span></a></li>

<li><a href="Chord_rewrite_rules" title="Chord rewrite rules">Rewrite rules</a></li>

<li><a href="Turnaround_(music)" title="Turnaround (music)">Turnaround</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">By number<br>of chords</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%;font-weight:normal;"><a href="Three-chord_song" title="Three-chord song">Three</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<li><a href="Ii%E2%80%93V%E2%80%93I_progression" title="Ii–V–I progression">ii–V–I turnaround</a></li>

<li><a href="V%E2%80%93IV%E2%80%93I_turnaround" title="V–IV–I turnaround">V–IV–I turnaround</a></li>

<li><a href="%E2%99%ADVII%E2%80%93V7_cadence" title="♭VII–V7 cadence"><span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span>VII–V<sup>7</sup> cadence</a></li>

<li><a href="Backdoor_progression" title="Backdoor progression">Backdoor progression</a></li>

<li><a href="Eight-bar_blues" title="Eight-bar blues">Eight-bar blues</a></li>

<li><a href="Twelve-bar_blues" title="Twelve-bar blues">Twelve-bar blues</a> (<a href="Bird_changes" title="Bird changes">"Bird" changes</a>)</li>

<li><a href="Sixteen-bar_blues" title="Sixteen-bar blues">Sixteen-bar blues</a></li>

<li><a href="Passamezzo_moderno" title="Passamezzo moderno">Passamezzo moderno</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;font-weight:normal;">Four</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="'50s_progression" title="'50s progression">'50s progression</a></li>

<li><a href="Andalusian_cadence" title="Andalusian cadence">Andalusian cadence</a></li>

<li><a href="Fol%C3%ADa" class="mw-redirect" title="Folía">Folía</a></li>

<li><a href="Montgomery-Ward_bridge" title="Montgomery-Ward bridge">Montgomery-Ward bridge</a></li>

<li><a href="Passamezzo_antico" title="Passamezzo antico">Passamezzo antico</a></li>

<li><a href="Romanesca" title="Romanesca">Romanesca</a></li>

<li><a href="Tadd_Dameron_turnaround" title="Tadd Dameron turnaround">Tadd Dameron turnaround</a></li></ul>

</div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">By name</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<li><a href="Andalusian_cadence" title="Andalusian cadence">Andalusian cadence</a></li>

<li><a href="Backdoor_progression" title="Backdoor progression">Backdoor</a></li>

<li><a href="Bird_changes" title="Bird changes">"Bird" changes</a></li>

<li><a href="Contrafact" title="Contrafact">Borrowed (contrafact)</a></li>

<li><a href="Circle_progression" class="mw-redirect" title="Circle progression">Circle</a></li>

<li><a href="Coltrane_changes" title="Coltrane changes">Coltrane changes</a></li>

<li><a href="Omnibus_progression" title="Omnibus progression">Omnibus</a></li>

<li><a href="Passamezzo_antico" title="Passamezzo antico">Passamezzo antico</a></li>

<li><a href="Passamezzo_moderno" title="Passamezzo moderno">Passamezzo moderno</a></li>

<li><a href="Ragtime_progression" title="Ragtime progression">Ragtime</a></li>

<li><a href="Royal_road_progression" title="Royal road progression">Royal road progression</a></li>

<li><a href="Stomp_progression" title="Stomp progression">Stomp</a></li>

<li><a href="Tadd_Dameron_turnaround" title="Tadd Dameron turnaround">Tadd-Dameron</a></li>

<li><a href="Montgomery-Ward_bridge" title="Montgomery-Ward bridge">Montgomery-Ward bridge</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Aeolian_mode#Aeolian_harmony" title="Aeolian mode">Aeolian harmony</a></li>

<li><a href="Chaconne" title="Chaconne">Chaconne</a></li>

<li><a href="Ground_bass" class="mw-redirect" title="Ground bass">Ground bass</a> (<a href="Pachelbel's_Canon" title="Pachelbel's Canon">Pachelbel's Canon</a>)</li>

<li><a href="Irregular_resolution" title="Irregular resolution">Irregular resolution</a></li>

<li><a href="Galant_Schemata" title="Galant Schemata">Galant Schemata</a></li></ul>

</div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div><a href="List_of_chord_progressions" title="List of chord progressions">List of chord progressions</a></div></td></tr></tbody></table></div>

<div class="navbox-styles"></div><div role="navigation" class="navbox" aria-labelledby="Jazz_theory_and_improvisation76" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Jazz_theory_and_improvisation76" style="font-size:114%;margin:0 4em"><a href="Jazz" title="Jazz">Jazz</a> <a href="Music_theory" title="Music theory">theory</a> and <a href="Musical_improvisation" title="Musical improvisation">improvisation</a></div></th></tr><tr><td colspan="2" class="navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Avoid_note" title="Avoid note">Avoid note</a></li>

<li><a href="Backdoor_progression" title="Backdoor progression">Backdoor progression</a></li>

<li><a href="Bar-line_shift" title="Bar-line shift">Bar-line shift</a></li>

<li><a href="Bebop_scale" title="Bebop scale">Bebop scale</a></li>

<li><a href="Bird_changes" title="Bird changes">Bird changes</a></li>

<li><a href="Block_chord" title="Block chord">Block chord</a></li>

<li><a href="Cadenza" title="Cadenza">Cadenza</a></li>

<li><a href="Call_and_response_(music)" title="Call and response (music)">Call and response</a></li>

<li><a href="Chord-scale_system" title="Chord-scale system">Chord-scale system</a></li>

<li><a href="Chordioid" title="Chordioid">Chordioid</a></li>

<li><a href="Coltrane_changes" title="Coltrane changes">Coltrane changes</a></li>

<li><a href="Comping_(jazz)" title="Comping (jazz)">Comping</a></li>

<li><a href="Constant_structure" title="Constant structure">Constant structure</a></li>

<li><a href="Contrafact" title="Contrafact">Contrafact</a></li>

<li><a href="Electroacoustic_improvisation" class="mw-redirect" title="Electroacoustic improvisation">Electroacoustic improvisation</a></li>

<li><a href="Free_improvisation" title="Free improvisation">Free improvisation</a>

<li><a href="Groove_(music)" title="Groove (music)">Groove</a></li>

<li><a href="Harmolodics" title="Harmolodics">Harmolodics</a></li>

<li><a href="Jazz_harmony" title="Jazz harmony">Harmony</a></li>

<li><a href="Jam_session" title="Jam session">Jam session</a></li>

<li><a href="Jazz_chord" title="Jazz chord">Jazz chord</a>

<li><a href="Jazz_improvisation" title="Jazz improvisation">Jazz improvisation</a></li>

<li><a href="Lead_sheet" title="Lead sheet">Lead sheet</a></li>

<li><a href="Melodic_pattern" title="Melodic pattern">Melodic pattern</a></li>

<li><a href="Outside_(jazz)" title="Outside (jazz)">Outside</a></li>

<li><a href="Polyrhythm" title="Polyrhythm">Polyrhythm</a></li>

<li><a href="Jazz_scale" title="Jazz scale">Scale</a></li>

<li><a href="Swing_(jazz_performance_style)" class="mw-redirect" title="Swing (jazz performance style)">Swing</a></li>

<li><a href="Syncopation" title="Syncopation">Syncopation</a></li>

<li><a href="Turnaround_(music)" title="Turnaround (music)">Turnaround</a>

<li><a href="Tadd_Dameron_turnaround" title="Tadd Dameron turnaround">Tadd Dameron</a></li></ul></li>

<li><a href="Twelve-bar_blues" title="Twelve-bar blues">Twelve-bar blues</a></li>

<li><a href="Upper_structure" title="Upper structure">Upper structure</a></li></ul>

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This article is issued from <a class="external text" title="Last edited on 2025-08-01" href="https://en.wikipedia.org/wiki/?title=Rhythm_changes&oldid=1303629854">Wikipedia</a>. The text is available under <a class="external text" href="https://creativecommons.org/licenses/by-sa/4.0/deed.en">Creative Commons Attribution-Share Alike 4.0</a> unless otherwise noted. Additional terms may apply for the media files.

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