Rhythm Changes
Rhythm Changes and the 32-bar song form
The 32-bar “Song Form” – 8-bars, repeated, followed by an 8-bar bridge, then an 8-bar repetition very similar to the first 8-bars (so-called AABA form) – has been a popular jazz structure on which to improvise since the beginning of the 20th Century. Adapted from popular songs of the early-to-mid 20th Century, the AABA 32-bar form is common in jazz and Broadway musicals alike. To understand the construction and variations of 32-bar forms requires looking deeper at the harmonic progressions based on the tune “I Got Rhythm” written by George and Ira Gershwin and published in 1930. Referred to by jazz musicians as ‘rhythm changes’ this progression is foundational in understanding and applying jazz theory to longer musical forms.
In each module, there are opportunities to look at how harmonic changes are constructed, particulars of how melodies function in concert with harmonic function, and practical applications related to improvisation and composition.
CLASSROOM/GROUP ACTIVITIES
- Completed a Roman Numeral analysis of the two different sets of Rhythm Changes.
- Compare the two sets of harmonic progressions:
- What is same/similar/different about these harmonic progressions?
- What kinds of harmonic embellishments are present? Can you identify them by sight and/or sound?
- Transpose both of these harmonic progressions into another key.
- Here is a common set of rhythm changes in the key of Bb:
Play-A-Long #1
RC #1 – Medium Swing, 4 Choruses
A: Piano, Bass, & Drums B: Piano & Bass
C: Bass & Drums D: Piano & Drums
A version more common in jazz playing might look like this:
Play-A-Long #2
RC #2 – Medium Swing, 4 Choruses
A: Piano, Bass, & Drums B: Piano & Bass
C: Bass & Drums D: Piano & Drums
It can be helpful to isolate the two different sections of Rhythm Changes, the ‘A’ section and the ‘B’ section. Let’s look more closely at some of the most common variations.
When performing the harmonic progression, there are a few common approaches both improvisers and chordal accompaniment instruments conceive of:
The ‘B’ section, commonly referred to as ‘the Bridge’, often is harmonically embellished in a few different ways.
Most famously is the so-called “Eternal Triangle” Bridge – in reference to the famous recording on the album “Sunny Side Up” and written by saxophonist Sonny Stitt.
Two other common Bridge variations may look familiar to those who already using chord substitutions while improvising or composing:
Here is a very small list of popular melodies (and perhaps a few of these have slightly different harmonic progressions) that might be useful to learn:
“Anthropology” (Charlie Parker/Dizzy Gillespie)”Cotton Tail” (Duke Ellington)
“The Eternal Triangle” (Sonny Stitt)”Fungi Mama” (Blue Mitchell) “Lester Leaps In” (Lester Young)”Moose the Mooche” (Charlie Parker)
“Oleo” (Sonny Rollins)”Rhythm-A-Ning” (Thelonious Monk)
“Straighten Up and Fly Right” (Nat King Cole)”Tiptoe” (Thad Jones)
What other versions this 32-bar form might you find in a Real Book or other places? There are seemingly infinite ways to alter this popular harmonic progression. Here are two interesting charts showing variations:
Homework Assignments
- Apply your new understanding of a common Rhythm Changes 32-bar AABA harmonic progression
- Choose and learn a melody
- Outline triads and 7th chords using the supplied play-a-longs or other sources
- Improvise on Rhythm Changes using methods shared in this course
- Compose an original Rhythm Changes melody in AABA form.
- What harmonic progression did you choose and why?
- What about the melody is interesting and/or applies information you learned in this course?
- Write out a two-to-three-chorus solo on a chosen Rhythm Changes progression.
- Record yourself playing the solo
- Provide what ideas and concepts you applied to these choruses.
- Transcribe an improvised Rhythm Changes solo from the MTC 130 Spotify Playlist.
- Choose someone who plays your instrument. Or not.