In these tunes the pattern was adapted to be two connected notes, a dotted quarter note followed by an eighth note. Johnson student Duke Ellington, who used the Charleston pattern in C Jam Blues on the third measure of the melody. Johnson admirer George Gershwin, who used the Charleston pattern in ‘I Got Rhythm‘ on beat two of first bar of the melody and on beat one of the second, and James P. The Charleston rhythm was adapted by composers and arrangers including James P. In the Johnson piece, a repeated rhythm is heard in the melody and the accompaniment in nearly every bar of the song this can be heard in Johnson’s playing as two separated notes, the first on the downbeat of beat one, the second on the ‘and’ of two. Johnson composition of the same title which was in turn named for a 1920s dance craze. This title relates the rhythm to the James P. Two of the most iconic jazz versions of Autumn Leaves combine the tune’s melody and chord progression with a rhythmic figure idiomatic to jazz sometimes called the ‘Charleston rhythm’.
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