The original I Got Rhythm as wr itten by Gershwin had a two bar tag on the e nding. The Boppers eliminated this, and the Jaz z version was bor ne. Rhythm Changes and Blues Changes became the basic workout arenas for the Bop style. There are tons of Bebop heads out there for Rhythm Changes. Go find one you like. The main change f rom Swing Style to Bop, was rhythm. The old “Four to the bar” was abandoned and the feeling of the time was opened up. The drums were free to “ Comp” in ways that complimented the soloist moment to mome nt. The Bass still walked in four. The chord instruments were a lso free to comp. The guitar wasn’t chained to strumming four to the bar. The “Bop” style small group was totally free to spon taneously interact. Therefore, a new freer melodic style c ould be achieved. Hundreds of Bop heads were written against Rhythm and Blues Changes. Over time every conceivable harmonic var iation was also applied to Blues and Rhythm changes. The AABA form was all that held the Rhythm Changes form together. The original basic Basic chords to the eight measur e A sections in the Key of Bb are; (Bb maj./ G min. /) (C min./F7/) ( Bb maj/ G min. /) (C min. / F7/) (Bb maj. / Bb7/) (Eb maj./ Eb min./) ( Bb maj./ F7/) ( Bb maj.///). These Changes are all “straight ahe ad” Key of Bb. All the notes of the Key Positions in the Key of Bb will work against all the Chords in the 8 measure A sections. The following sli des show a typical “jazzed up” version of Rhyt hm Changes. Some of the basic chords have been altered into “7 th ” chords that resolve to the next chord in the Key. However, at a f ast tempo you will hardly notice them. Fast, the over all soun d of the chord progression will sound as just the Key of Bb. The following slides also show you how to group your Key Positions so that any Key Change is always within one fret of your left hand. Dave Woods

Rhythm Changes Analisis

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meas.1 beats 1&2 meas.1 beats 3&4 meas.2 beats 1&2

The B dim.7 on the 3rd and 4th beats of Measure One indicate a change into Key Position

Two. Notice that all the notes are exactly the same as in Key Position Four except for two notes, B

and Ab. These are Leading Tones. The B pulls into C, the Root of the C min.7 Chord. The Ab

pulls into G, the 5th

of the Cmin.7 Chord. The Bb sounds as a Blue Note against B dim.7Because the Bb maj.7 established the Key of Bb as the first Chord in the A Section, and

the B dim.7 is a chord that feels like it’s resolving to something else rather than trying to establish it’s

own identity, The C min.7 sounds as the Dorian Chord of the Key of Bb. To keep it simple, the B

dim.7 chord can be classified as the “Five” of the Dorian Chord, C min.7.

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meas.2 beats 3&4 meas3 beats 1&2 meas.3 beats 3&4

F7b9 introduces Gb to the ear. The Gb pulls into F, the 5th of the Bb maj.69 chord.

Because the Bb Tonal Center has been so firmly established, this voicing will sound as Bb maj.69

with the 3rd in the bass.

G7 is a resolving chord that’s again headed for C min.7, the Dorian Chord of the Key ofBb. It’s functioning as the “Five” of the Dorian Chord. B natural is a Leading Tone that pulls into C,

the root of the C min.7 chord. If you happened to play the Bb against the G7, it would sound as a

“Blue Note”.