Jazzity

Tune Forms

Rhythm Changes in Bb

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. B♭6 I6 Gm7 vi7
  2. Cm7 ii7 F7 V7
  3. B♭6 I6 Gm7 vi7
  4. Cm7 ii7 F7 V7
  5. B♭6 I6 B♭7 I7
  6. E♭6 IV6 Edim7 ♯iv°7
  7. B♭6 I6 F7 V7
  8. B♭6 I6
  1. B♭6 I6 Gm7 vi7
  2. Cm7 ii7 F7 V7
  3. B♭6 I6 Gm7 vi7
  4. Cm7 ii7 F7 V7
  5. B♭6 I6 B♭7 I7
  6. E♭6 IV6 Edim7 ♯iv°7
  7. B♭6 I6 F7 V7
  8. B♭6 I6
  1. D7 III7
  3. G7 VI7
  5. C7 II7
  7. F7 V7
  1. B♭6 I6 Gm7 vi7
  2. Cm7 ii7 F7 V7
  3. B♭6 I6 Gm7 vi7
  4. Cm7 ii7 F7 V7
  5. B♭6 I6 B♭7 I7
  6. E♭6 IV6 Edim7 ♯iv°7
  7. B♭6 I6 F7 V7
  8. B♭6 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