Second, by listening to the song and writing a new melody over its chord changes, thereby creating a composition of a type known as a contrafact, a jazz musician could claim copyright to the new melody rather than acknowledge Gershwin's inspiration and pay royalties to Gershwin's estate. First, "I Got Rhythm" was by then already a popular jazz standard. The chord changes began to be used in the 1930s, became common in the '40s and '50s, and are now ubiquitous. This progression's endurance in popularity is largely due to its extensive use by early bebop musicians.
The earliest known use of rhythm changes was by Sidney Bechet in his Septem recording of "Shag" with his "New Orleans Feetwarmers" group. For example, it is the basis of Duke Ellington's " Cotton Tail" as well as Charlie Christian's "Seven Come Eleven," Dizzy Gillespie's " Salt Peanuts," and Thelonious Monk's " Rhythm-a-Ning". This pattern, "one of the most common vehicles for improvisation," forms the basis of countless (usually uptempo) jazz compositions and was popular with swing-era and bebop musicians. The progression is in AABA form, with each A section based on repetitions of the ubiquitous I–vi–ii–V sequence (or variants such as iii–vi–ii–V), and the B section using a circle of fifths sequence based on III 7–VI 7–II 7–V 7, a progression which is sometimes given passing chords. Rhythm changes are a common 32- bar chord progression in jazz, originating as the chord progression for George Gershwin's " I Got Rhythm".
32-bar rhythm changes in B ♭, as commonly used for improvisation (slashes indicate rhythm chordal instrument improvised comping)
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