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Rhythm Changes

Rhythm Changes This is the basic form of a rhythm changes. Deviations from this form occur but usually only minimally, through secondary dominants, passing diminished chords, tritone substitution, and related ii chords, to the dominants (particularly on the bridge). Maj7 and 6 chords are interchanged. This is a very important musical form to know by heart and you will recognize it in tunes such as The Flintstones,I've Got A Rhythm (Gershwin) and Jumpin' at the Woodside (Basie) A1 Imaj7 V7/II A

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Milton Mermikides
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2K views1 page

Rhythm Changes

Rhythm Changes This is the basic form of a rhythm changes. Deviations from this form occur but usually only minimally, through secondary dominants, passing diminished chords, tritone substitution, and related ii chords, to the dominants (particularly on the bridge). Maj7 and 6 chords are interchanged. This is a very important musical form to know by heart and you will recognize it in tunes such as The Flintstones,I've Got A Rhythm (Gershwin) and Jumpin' at the Woodside (Basie) A1 Imaj7 V7/II A

Uploaded by

Milton Mermikides
Copyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd

Rhythm Changes

This is the basic form of a rhythm changes. Deviations from this form occur but usually only minimally,
through secondary dominants, passing diminished chords, tritone substitution, and related ii chords,
to the dominants (particularly on the bridge). Maj7 and 6 chords are interchanged.
This is a very important musical form to know by heart and you will recognize
it in tunes such as The Flintstones,I've Got A Rhythm (Gershwin) and Jumpin' at the Woodside (Basie)

A1 Imaj7 V7/II IIm7 V7 IIIm7 V7/II IIm7 V7


CŒ„Š7 A7 D‹7 G7 E‹7 A7 D‹7 G7

& 44 V V V V V V V V V V V V V V V V
Imaj7 V7/IV IVmaj7 IVm6 IIIm7 V7/II IIm7 V7

& V V V V V V V V V V V V V V V V
CŒ„Š7 C7 FŒ„Š7 F‹6 E‹7 A7 D‹7 G7

Imaj7 V7/II IIm7 V7 IIIm7 V7/II IIm7 V7


A2
CŒ„Š7 A7 D‹7 G7 E‹7 A7 D‹7 G7

& V V V V V V V V V V V V V V V V

Imaj7 V7/IV IVmaj7 IVm6 IIIm7 V7/II IIm7 V7 I6

& V V V V V V V V V V V V V V V V
CŒ„Š7 C7 FŒ„Š7 F‹6 E‹7 A7 D‹7 G7 C6

B
V7/VI V7/II

& V V V V V V V V V V V V V V V V
E7 A7

V7/V V7

& V V V V V V V V V V V V V V V V
D7 G7

Imaj7 V7/II IIm7 V7 IIIm7 V7/II IIm7 V7


A3
CŒ„Š7 A7 D‹7 G7 E‹7 A7 D‹7 G7

& V V V V V V V V V V V V V V V V
Imaj7 V7/IV IVmaj7 IVm6 IIIm7 V7/II IIm7 V7 I6

& V V V V V V V V V V V V V V V V ™™
CŒ„Š7 C7 FŒ„Š7 F‹6 E‹7 A7 D‹7 G7 C6

Note that the A sections are made of I-vi-ii-V implications (bars 1-2, 3-4 and 7-8) and a move to the IV then IVm6
from the parallel minor (bars 5-6). The bridge (B section) is a series of dominant chords descending 5ths before
resolving to the original key (A 'cycle V'). As an exercise, identify with arrows all the resolving dominant chords, and
with brackets, ii-V relationships. Hunt through jazz books to find and analyse rhythm changes. Anthropology,
Oleo and Cotton Tail should get you started, and give you ideas for composition.

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