Jazzity

Tune Forms

Rhythm Changes in A

The 32-bar A-A-B-A form of Gershwin's “I Got Rhythm”, the second most commonly played progression in jazz: I-vi-ii-V turnarounds in the A sections and a bridge of dominant 7ths around the cycle of fifths (III7, VI7, II7, V7).

120 BPM
Practice in all 12 keys
  1. A6 I6 F♯m7 vi7
  2. Bm7 ii7 E7 V7
  3. A6 I6 F♯m7 vi7
  4. Bm7 ii7 E7 V7
  5. A6 I6 A7 I7
  6. D6 IV6 D♯dim7 ♯iv°7
  7. A6 I6 E7 V7
  8. A6 I6
  1. A6 I6 F♯m7 vi7
  2. Bm7 ii7 E7 V7
  3. A6 I6 F♯m7 vi7
  4. Bm7 ii7 E7 V7
  5. A6 I6 A7 I7
  6. D6 IV6 D♯dim7 ♯iv°7
  7. A6 I6 E7 V7
  8. A6 I6
  1. C♯7 III7
  3. F♯7 VI7
  5. B7 II7
  7. E7 V7
  1. A6 I6 F♯m7 vi7
  2. Bm7 ii7 E7 V7
  3. A6 I6 F♯m7 vi7
  4. Bm7 ii7 E7 V7
  5. A6 I6 A7 I7
  6. D6 IV6 D♯dim7 ♯iv°7
  7. A6 I6 E7 V7
  8. A6 I6

Four-note rootless voicings in their two forms, with the 3rd or the 7th on the bottom, played over the root.

Customize each chord
Meter
4/4
Form
A-A-B-A
Bars
32
Usual key
Bb

Bebop musicians wrote dozens of new melodies over these changes. The A sections spin I-vi-ii-V turnarounds (players often make the vi a VI7 or a #i°7), and the bridge moves through dominants two bars at a time. Practice the A sections as a loop of ii-Vs in Bb, the traditional key, then the bridge with guide tones until you can hear each dominant coming.

Reharmonize Analyze these changes

Variations