Tune Forms

Rhythm Changes in E

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. Bar 1: E6 I6 C♯m7 vi7
  2. Bar 2: F♯m7 ii7 B7 V7
  3. Bar 3: E6 I6 C♯m7 vi7
  4. Bar 4: F♯m7 ii7 B7 V7
  5. Bar 5: E6 I6 E7 I7
  6. Bar 6: A6 IV6 A♯dim7 ♯iv°7
  7. Bar 7: E6 I6 B7 V7
  8. Bar 8: E6 I6
  1. Bar 9: E6 I6 C♯m7 vi7
  2. Bar 10: F♯m7 ii7 B7 V7
  3. Bar 11: E6 I6 C♯m7 vi7
  4. Bar 12: F♯m7 ii7 B7 V7
  5. Bar 13: E6 I6 E7 I7
  6. Bar 14: A6 IV6 A♯dim7 ♯iv°7
  7. Bar 15: E6 I6 B7 V7
  8. Bar 16: E6 I6
  1. Bar 17: G♯7 III7
  2. Bar 18: the bar before again, G#7
  3. Bar 19: C♯7 VI7
  4. Bar 20: the bar before again, C#7
  5. Bar 21: F♯7 II7
  6. Bar 22: the bar before again, F#7
  7. Bar 23: B7 V7
  8. Bar 24: the bar before again, B7
  1. Bar 25: E6 I6 C♯m7 vi7
  2. Bar 26: F♯m7 ii7 B7 V7
  3. Bar 27: E6 I6 C♯m7 vi7
  4. Bar 28: F♯m7 ii7 B7 V7
  5. Bar 29: E6 I6 E7 I7
  6. Bar 30: A6 IV6 A♯dim7 ♯iv°7
  7. Bar 31: E6 I6 B7 V7
  8. Bar 32: E6 I6
Voicing family

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