The other tune everybody knows. Two eight-bar sections are declared here — an A and a bridge — and one order, A A B A, which is what turns sixteen written bars into a thirty-two-bar chorus. Count that order and you have counted the form; the page does exactly that above rather than asserting the number.
The A section is a turnaround with a detour
Look at the first four bars and you are looking at the same two-bar cadence twice: tonic and submediant, then supertonic and dominant. That is not a coincidence and it is not filler — it is the reason this form is a rhythm section's favourite thing to practise, because those two bars are the two bars underneath half the repertoire. Bars five and six are the detour: the tonic turns into a dominant seventh, which drags the harmony up to the subdominant, and the last two bars walk it home. The submediant in bar seven is written as a dominant rather than a minor seventh, which is the version a group is more likely to play and the one that gives the rules below something to bite on.
The bridge is four dominants and nothing else
Eight bars, four chords, two bars each, and every one of them a dominant seventh a fifth above the next. It is the plainest passage in the whole repertoire and it is where beginners come unstuck, because there is no key to hold on to: each chord is only pointing at the one after it. The engine realizes it from the third degree, which is what makes the third chord land on the supertonic and the last one on the dominant, ready for the final A.
What the five rules make of it
The bridge is the most rewarding thing to run a rule over on this site. The insertion rule finds all eight bars and turns four chords into eight, which is precisely what a piano player does with it in practice. The tritone rule takes every dominant. The backdoor rule finds the three places where one dominant resolves up a fourth into the next. The diminished rule again finds nothing, because these roots move by fifths and never by a whole tone.