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8/11/2019 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.



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”.




C min.7 is the Dorian Chord of the Key of Bb. This voicing for F13b9 has no Root or 5th,

but in the context of the progression it sounds as F13b9, especially if the bass played the F. On the

resolution , Gb pulls to F, the 5th of the Bb maj.69 Chord. It has no 3rd , but the D is supplied by the

Overtones. ( see the Overtone Series and the Evolution of Key Structure) In addition, by this time in the

Chord progression the Key of Bb has been established so thoroughly that your ear will supply the D.



meas.5 beats 3&4 meas. 6 beats 1&2 meas.6 beats 3&4

At measure 5 beats 3 & 4, there’s Key change from the Key of Bb, to the Key of Eb, but not a

Tonality Change. The ear still hears the Tonal Center as Bb. Ab is the only new note. Bb7 is the

Mixolydian Chord of the Key of Eb, Eb maj.7 is the Ionian Chord.

Ab7 is a chord that needs some discussion. The Lydian Chord of the Key of Eb is Ab maj.7.

Lowering G to Gb makes it Ab7. This is called the Lydian 7th. On the resolution to Bb major, Gb pulls to

F, and Eb pulls to D.




meas.8 beats 3&4

Dmin.7, because of the Bb Tonal Center, sounds as Bb maj.79

without the Root. Bear in mind that the notes of the key of Bb, and the Bb

Tonal Center have been hammered into your ear again and again throughout

the A Section of the tune. The song form is AABA



