Well-known examples of contrafacts in jazz include the Charlie Parker/Miles Davis bop tune "Donna Lee," which uses the chord changes of the standard "Back Home Again in Indiana"2 or Thelonious Monk's jazz standard3 "Evidence", which borrows the chord progression from Jesse Greer and Raymond Klages's song "Just You, Just Me" (1929).4 The Gershwin tune "I Got Rhythm" has proved especially amenable to contrafactual recomposition: the popularity of its "rhythm changes" is second only to that of the 12-bar blues as a basic harmonic structure used by jazz composers.
Examples from the classical oeuvre include the Ave Maria (Bach/Gounod); Sinfonia by Luciano Berio using fragments from Mahler; George Crumb borrowing Chopin's nocturnes; or Matt A. Mason's "Heiligenstadt Echo" which takes from Beethoven's Sonata in A♭ major, op. 110.
Kernfeld, Barry, ed. (2002), "Contrafact", The New Grove Dictionary of Jazz;, vol. 1 (2nd ed.), Oxford: Oxford University Press. /wiki/Barry_Kernfeld ↩
Rosenthal, David, H. (1992). Hard Bop: Jazz and Black Music 1955-1965. New York: Oxford University Press. ISBN 0-19-505869-0.{{cite book}}: CS1 maint: multiple names: authors list (link) 0-19-505869-0 ↩
Yanow, Scott (2008). "Thelonious Monk" biography, AllMusic. https://www.allmusic.com/artist/p106839/biography ↩
Williams, Martin (1 January 1992). "What Kind of Composer Was Thelonious Monk?". The Musical Quarterly. 76 (3): 433–441. doi:10.1093/mq/76.3.433. /wiki/The_Musical_Quarterly ↩