Not All “Rhythm Changes” Are Alike

Bob Keller

Harvey Mudd College

A lot of tunes are said to be “based on rhythm changes”, see this comprehensive site for example

http://www.angelfire.com/fl4/moneychords/rhythmchanges.html

but the resemblances aren’t always that strong. Rather than lumping these tunes together, we should perhaps celebrate their differences.

---

Jazz-Player’s “Rhythm Changes” (typical):

BbM7 G7alt | Cm7 F7 | Dm7 G7alt | Cm7 F7 |

Fm7 Bb7 | Eb Ab7 | Dm7 G7alt | Cm7 F7 |

BbM7 G7alt | Cm7 F7 | Dm7 G7alt | Cm7 F7 |

Fm7 Bb7 | Eb Ab7 | Cm7 F7 | BbM7 |

Am7 | D7 | Dm7 | G7 |

Gm7 | C7 | Cm7 | F7 |

BbM7 G7alt | Cm7 F7 | Dm7 G7alt | Cm7 F7 |

Fm7 Bb7 | Eb Ab7 | Cm7 F7 | BbM7 |

Notes:

• The form of the tune is AABA
• Transition to I⁷ = V⁷ of IV (Eb) in bar 5
• Ab7 is essentially equivalent to IVm (Ebm) in bar 6 (see below)
• There are numerous substitutions for the individual chords, e.g. (Gm7 or G7 for G7alt = G7#5#9)
• Some players generalize the entire “A” section to Bb major

Here is a site about variations and soloing over these changes:

http://people.uncw.edu/russellr/rhythm.html

---

Gershwin’s Original “I Got Rhythm”.

(Slashes on chords indicate bass notes on the original sheet music.)

Notes:

• The form of the tune is AABA’, A’ having a 2-bar tag
• No transition to I⁷ = V⁷ of IV
• Transition to IVm in bar 6
• Tritone substitution (C7b5/Gb for C7) in bar 23
• Two-bar tag in bar 31 (David Baker: “only for weddings”)

The above sheet was produced by the following Impro-Visor leadsheet notation:

Chords (simplified, with incomplete syncopation; see later):

Bb Bb6/F | Cm7 F7 | Bb6/F Eo7/F | Cm7 F7 |

Bb Bb6/F | Cm7 / F7 Ebm6| Bb/F F7 | Bb C#o7 / F7/C |

Bb Bb6/F | Cm7 F7 | Bb6/F Eo7/F | Cm7 F7 |

Bb Bb6/F | Cm7 / F7 Ebm6| Bb F7 | Bb |

D7/A Am7/D | Fm6/D D7 | G D+ | Dm/G G7/D |

C7/G Gm7/C | Ebm6/C C9 | C7b5/Gb | F7 / C7 F7 |

Bb Bb6/F | Cm7 F7 | Bb6/F Eo7/F | Cm7 F7 |

Bb Bb6/F | Cm7 / F7 Ebm | Bb Fm/Ab | G7 |

C7 F7 | Bb Ab Gb Db |

Leadsheet notation for the melody may be found here.

Chords with extra slashes serve to syncopate the chords properly. Not all chords are on the beat. Some are on the half-beat:

Bb / / / / Bb6/F / / | Cm7 F7 | Bb6/F / / / / Eo7/F / / | Cm7 F7 |

Bb / / / / Bb6/F / / | Cm7 / F7 Ebm6 | Bb/F F7 | Bb C#o7 / F7/C |

Bb / / / / Bb6/F / / | Cm7 F7 | Bb6/F / / / / Eo7/F / / | Cm7 F7 |

Bb / / / / Bb6/F / / | Cm7 / F7 Ebm6 | Bb F7 | Bb |

D7/A Am7/D | Fm6/D D7 | G D+ | Dm/G G7/D |

C7/G Gm7/C | Ebm6/C C9 | C7b5/Gb | F7 / C7 F7 |

Bb / / / / Bb6/F / / | Cm7 F7 | Bb6/F / / / / Eo7/F / / | Cm7 F7 |

Bb / / / / Bb6/F / / | Cm7 / F7 Ebm | Bb Fm/Ab | G7 |

C7 F7 | Bb Ab Gb Db |

---

Bud Powell’s “Celia” changes (my interpretation):

Bb69 | Cm7b5 | Bb69 | Ebm7 Ab7 |

Dm7 Dbm7 | Cm7 B7#11 | Bb69 G7#5#9 | Cm7 F7b9#11 |

Bb69 | Cm7b5 | Bb69 | Ebm7 Ab7 |

Dm7 Dbm7 | Cm7 B7#11 | Bb69 | / |

Am7 | D13 | Gm7 | Gm6 |

Gm7 | C13#11 | Cm7 | F13#11 |

Bb69 | Cm7b5 | Bb69 | Ebm7 Ab7 |

Dm7 Dbm7 | Cm7 B7#11 | Bb69 | Cm7b5 F13b9 |

Notes:

• “A” section does not resemble “I Got Rhythm” that much
• “B” section is similar (cycle of fifths)
• I think the “A” section is based on “What’ll I Do” by Irving Berlin

---

Sonny Stitt’s “Eternal Triangle” changes:

BbM7 Gm7 | Cm7 F7 | Dm7 G7 | Cm7 F7 |

Fm7 Bb7 | Eb7 | Dm7 G7 | Cm7 F7 |

BbM7 Gm7 | Cm7 F7 | Dm7 G7 | Cm7 F7 |

Fm7 Bb7 | Eb7 | Dm7 G7 | Cm7 F7 Bb / |

Bm7 | E7 | Bbm7 | Eb7 |

Am7 D7 | Abm7 Db7 | Gm7 C7 | Gbm7 B7 |

BbM7 Gm7 | Cm7 F7 | Dm7 G7 | Cm7 F7 |

Fm7 Bb7 | Eb7 | Dm7 G7 | Cm7 F7 Bb / |

Notes:

• “A” section does resemble jazz “I Got Rhythm” changes
• Transition to I⁷ in bar 5
• “B” section starts earlier in the cycle and progresses at double harmonic rate in the second half