Chapter.08.pdf

Chapter 8 Harmonic Substitutions & Turnarounds 151

Jazz Theory Resources

VIII. Harmonic Substitutions & TurnaroundsHarmonic progressions in a jazz performance are very liquid and pliable. Many commonly performedjazz standard tunes have no agreed upon “correct” set of chords. Comparing several performances orrecordings will reveal different harmonic progressions for the same tune. The differences may varygreatly depending on the artist and the arranger. Experienced artists may change the harmonic progres-sion from chorus to chorus during a single performance; the harmony used as a developmental devicefor creating more or less tension in the course of the performance. The progression may change withina single performance, shifting between complex and simple. Assumptions about the “correct” set ofchords to a particular piece are usually based on the first source experienced. First sources include oldstyle lead sheets, legal or illegal fake books, and recordings of a specific artists. Harmonic preferencesand even standard keys for some tunes change for different regions of the world usually determined by ainfluential group of local musicians. The creative approach of a single well-known artist may influencethe harmonic choices for many. Ironically, the most often played progressions, including blues and“rhythm changes,” may have the most harmonic variations rather than having an authoritative agreedupon harmonic framework.

Before there were legal “fake” books, illegal versions could be purchased from various sources.Published sheet music typically had three lines: one for the melody and lyric, plus the two line staff easypiano arrangement. Earlier sheet music might have included simplified chord symbols for guitar, banjoor ukulele above the top line. “Fake” books were made by cutting off the top melodic line of music withwhatever limited chord symbols appeared. These skeletal pieces were pasted two tunes to the page andput together into books used by working musicians. Working musicians expanded the sparse harmonicvocabulary in performances by inserting extra chords progressing from one primary point to another.The limitations of ukulele and banjo led to many omissions and some confusing looking chord symbols.A progression marked F - G7 for the ukulele or guitar might have actually been Dm7 - G7 in the pianopart; the D bass note having been cut off for the “fake” book version. A iiø7 - V7 to the key of A minormight appear as Dm6 - E7 in the banjo chords. The Dm6 shares the same notes as the Bø7, and with a Bin the bass in the cut off piano part would sound like a Bø7. As musicians played these tunes over theyears, much of the original harmony was “improved,” new substitutions were added and passed on ei-ther from new lead sheets, arrangements, or through the oral traditions.

Compare several legal copyrighted versions of standard jazz tunes today and a number of different of“correct” versions of the chord changes emerge. Any creative, experienced jazz performer will have apersonal approach to many of these common progressions.

A jazz performer must have the tools to master the elastic state of jazz harmony. These tools include un-derstanding formula progressions that can be applied to sections of standard jazz tunes and strategiesfor enhancing lead sheet progressions. Several versions of the same progressions are compared belowaddressing practical applications of harmony. These principles will then be applied to the most com-mon forms played by jazz musicians: the blues and rhythm changes. All of the harmonic considerationsin this chapter will be confined to the major/minor system. There are other harmonic possibilities thatcan be addressed only after acquiring a thorough understanding of the major/minor system.

152 Chapter 8 Harmonic Substitutions & Turnarounds


TURNAROUND PROGRESSIONS

I . Turnarounds to Tonic (I)

Many progressions end with two measures of the tonic chord and begin again on the sametonic chord. This creates twelve or more beats of the same static sound. Several otherchords may be placed in this area which create motion to replace the static harmony. Thenew progressions are called “turnarounds” as they turn the piece around the top of theform. There are many tunes that are based on a variation of these turnaround progressions.Try to determine the accidentals necessary in these turnarounds.

Static harmony: the last two measures of the form and the first measure all on the tonic chord begs forharmonic motion to replace the static harmony.

C CI I

Additional harmony is inserted in a passage by working backwards from the targeted resolution. Thetonic chord (C) at the top of the chart can be preceded with its diatonic ii7 and V7 (Dm7 - G7) in thefinal measure. The root motion of downward fifths is strong.

C Dm7 G7 CI ii7 V7 I

Backing up one more place in the progression allows the insertion of vi7 which creates a longer passageof downward fifth root motion: vi7 - ii7 - V7 - I.

C Am7 Dm7 G7 CI vi7 ii7 V7 I

Secondary dominant chords can replace diatonic chords. The vi7 chord can be replaced by a V7/ii; theii7 chord can be replaced by the V7/V. Secondary dominants produce more forward motion by intro-ducing chromatic voices that briefly point away from the primary tonal center.

C A7 D7 G7 CI V7/ii V7/V V7 I

A secondary leading tone chord can be used in place of a secondary dominant chord. The C#°7, thevii°7/ii, creates a chromatically ascending bass line which returns to the downward fifth motion with theii7 - V7 - I.

C C#°7 Dm7 G7 CI vii°7/ii ii7 V7 I

A dominant chord may be replaced by its tritone substitute dominant when the dominant chord is re-solving down a fifth. If the dominant chord is resolving deceptively, as ii - V7 - vi, a tritone substitutedominant would not appropriate. The roots of a sequence of tritone substitutions may progress indownward fifths The bass line and the chromatic harmony create motion which points away and ulti-mately resolves back to the tonic chord.

C Eb7 Ab7 Db7 CI TT sub for V7/ii TT sub for V7/V TT sub for V7 I



Progression in countless thirty-two measure forms and the blues resolve back to the tonic chord in thelast two measures and begin again on the same tonic chord. The resolution to the tonic chord in thosefinal two measures can be avoided by using the iii7 chord or the I6 chord as a substitute for I. The iii7chord leads well to the vi7 or V7/ii7 chords with descending fifth root motion. The iii7 chord leadschromatically to the tritone substitute for V7/ii. A descending chromatic bass line can be created bysubstituting iii7 for I, and using the tritone substitutes for V7/ii and V7 as shown below.

Em7 Eb7 Dm7 Db7 Ciii7 TT sub for V7/ii ii7 TT sub for V7 I

E7 is the V7/vi and can also be inserted in the progression to avoid the tonic chord. If the tonic chordtones are sounded over the E7, they create colorful upper extensions (C= b13, E = Root, G = #9 of E7). Adescending chromatic bass line is shown below using all dominant chords.

E7 Eb7 D7 Db7 CV7/vi TT sub for V7/ii V7/V TT sub for V7 I

E7 can also have a tritone substitution. Bb7 may be a long way from the tonic chord, but it may soundinteresting as the C triad over the Bb7 chord yields other colorful upper extensions (C = 9, E = #11, G =13 of Bb7). The progression below has a bass line of descending fifths using all tritone substitute domi-nants.

Bb7 Eb7 Ab7 Db7 CTT sub for V7/vi TT sub for V7/ii TT sub for V7/V TT sub for V7 I

A chromatic bass line can be created using a combination of tritone substitution, secondary dominantsand the dominant.

Bb7 A7 Ab7 G7 CTT sub for V7/vi V7/ii TT sub for V7/V V7 I

The vii°7/iii can be used deceptively in this turnaround.

Cmaj7 or Em7 D#°7 Dm7 G7 CI or iii7 vii°7/iii ii7 V7 I

Chords from the parallel minor can be used for a color change. The diatonic major chords, vi7 - ii7 -V7, are replaced by corresponding chords from the parallel minor. The fundamental G7 chord willsound the same but would have different upper extensions. The lowered third and sixth degrees of the Cminor scale yield the b13 and b9 over the G7.

Cmaj7 Abmaj7 Dø7 G7 (b13 b9) CI bVI/i iiø7/i V7/i I

This is not a commonly used turnaround, but is possible and may inspire an arrangement or composi-tion.

Cmaj7 Am7 Fmaj7 or Fm7 Bb7 CI vi7 IV or iv/i Backdoor deceptive

resolutionI

An artist may use a different turnaround progression within the performance of a tune. Differentturnarounds may be chosen for different emotional or structural moments in the solo. In a four chorusimprovisation on a jazz standard progression in Bb major, Keith Jarrett used three different turnarounds.



At the end of the first chorus Jarrett played only two chords over the dominant pedal note F. This re-strained the forward motion for a moment before releasing it at the top of the second form.

Bbmaj7/F Cbmaj7/F Bb

Over dominantpedal

I

At the end of the second chorus he used this diatonic progression:

Bbmaj7 Gm7 Cm7 F7 Bb

I vi7 ii7 V7 I

As the solo built to the more climactic third chorus, Jarrett changed only the second chord. Jarrett’smelodic material over this turnaround was a flurry of sixteenth notes.

Bbmaj7 G7 Cm7 F7 Bb

I V7/ii ii7 V7 I

The last turnaround set up the end of the solo and Jarrett returned to the diatonic progression andslowed the rhythmic activity of the melodic material to help the improvisation come to a close.

Bbmaj7 Gm7 Cm7 F7 Bb

I vi7 ii7 V7 I

I I . Turnarounds to Supertonic (ii)

Pieces may end with a tonic chord in the last two measures of the form and may begin onthe ii7 chord. Many compositions will at some point modulate from the key of I to the keyof ii. The following progressions are possible for that temporary modulation.

Any chord can be preceded by its dominant and its ii7 or iiø7 chord. The insertion of these chords in-troduces chromatic pitches which point away from the tonic chord and point the progression towardsthe ii7 chord. The root motion is strong utilizing descending fifths.

Cmaj7 Eø7 A7 DmI iiø7/ii V7/ii ii

The strong downward fifth root movement from I to IV can precede the iiø7/ii - V7/ii - ii7 progression.The half-step resolution from IV to iiø7/ii is strong. The F chord is a common chord between the key ofC (as IV) and the key of D minor (as bVI).

Cmaj7 Fmaj7 Eø7 A7 DmI IV iiø7/ii V7/ii ii

A diatonic iii7 chord can be used instead of the iiø7/ii. This delays pointing to the ii7 chord (V7/ii) un-til the last moment in this progression. The iii7 chord may be preceded by its dominant.

Cmaj7 B7 Em7 A7 DmI V7/iii iii7 V7/ii ii

A chromatic bass line can be created by using a series of secondary tritone substitute dominants.

Cmaj7 B7 Bb9 A7 DmI V7/iii TT sub for V7/vi V7/ii ii



A strong downward fifth bass line through a series of tritone substitutions finally resolves to the ii7chord in the following turnaround progression.

Cmaj7 F9 Bb9 Eb9 DmI TT sub for V7/iii TT sub for V7/vi TT sub for V7/ii ii

I I I . Turnarounds to Submediant (vi)

Pieces may end with a tonic chord in the last two measures of the form and may begin onthe vi7 chord. There are several tunes whose bridge or middle sections modulate to the keyof vi. The following progressions modulate from the key of I to the key of vi.

The most common approach is to precede the vi7 chord with its iiø7 and V7.

Cmaj7 Bø7 E7 AmI iiø7/vi V7/vi vi

The strong downward fifth movement from I to IV often precedes the iiø7/vi - V7/vi. The downward fifthmotion continues from IV to iiø7/vi and is still strong even though F to Bn is a diminished fifth.

Cmaj7 Fmaj7 Bø7 E7 AmI IV iiø7/vi V7/vi vi

The IV chord can be made into a dominant chord, which makes it a tritone substitute for the V7/iii. Thischord occurs countless times in traditional music and might then be labeled an augmented sixth chordwith any number of international titles (French, Italian, German).

Cmaj7 F9 E7 AmI TT sub for V7/iii V7/vi vi

By using the tritone substitute for the V7/vi, a bass line of descending fifths can be created that resolvesdown a half-step to the vi chord.

Cmaj7 F9 Bb9 AmI TT sub for V7/iii TT sub for V7/vi vi

IV. Turnarounds to Subdominant (IV)

While rarely found at the beginning of tunes, many tunes modulate to the IV chord atsignificant points in the form. Here are typical turnaround modulating from the key of Ito the key of IV.

Key changed by inserting the ii7/IV - V7/IV.

Cmaj7 Gm7 C7 FI ii7/IV V7/IV IV

Sliding chromatically to the ii7/IV. The chromatic Abm7 chord is not as much functional as it is achromatic passing chord, but would probably sound like the ii7/bV.

Cmaj7 Am7 - (Abm7) Gm7 C7 FI vi - (ii7/bV) ii7/IV V7/IV IV



A chromatic bass line can be created using tritone substitute and secondary dominants.

Cmaj7 Ab7 G7 Gb7 FI TT sub for V7/v V7/IV TT sub for V7/IV IV

Cmaj7 Db7 C7 FI TT sub for V7/IV V7/IV IV

IV. Turnarounds to mediant

Tunes rarely begin on a iii chord, but many tunes modulate to the key of iii at the bridge orother sections. The following progressions modulate from the key of I to the key of iii.

Root movement down in thirds produces a smooth transition as adjacent chords share three pitches.The simple triad (1-3-5) becomes the 3-5-7 of the next, so that the C triad (C-E-G) becomes the 3-5-7 ofthe Am7 chord; the A minor triad (A-C-E) becomes the 3-5-7 of the F#ø7 chord. The iiø7/iii - V7/iiipoints the iii chord.

Cmaj7 Am7 F#ø7 B7 EmI vi iiø7/iii V7/iii iii

The tonic chord could change to a dominant quality and then progress to the V7/iii as shown below. Inthis instance, the C7 does not function as the V7/IV, but as an augmented sixth chord or a tritone substi-tute for the V7/vii.

Cmaj7 C7 B7 EmI Augmented 6th

chord or TT subfor V/vii

V7/iii iii

APPLICATION to STANDARD PROGRESSIONS

There are only two rules in music theory: (1) Does it sound good; and (2) does it sound good. Withthose rules in mind, principles for reharmonization would include:

• The harmony supports the melody. Do not force harmony onto a piece that does not servethe melody. I witnessed a pianist trying to get a singer to change the melody notes of an oldstandard to fit a reharmonization. There is no good reason to impose incompatible har-mony onto a melody, no matter how interesting the progression.

• Certain additions or deductions of harmony will alter the mood. Keep in mind what the fo-cus should be at any given moment in the piece before altering the harmony.

• There are certain significant junctures that may be expected within the form of a standardtune. For instance, some kind of chord built on the fourth degree is expected in m.5 of theblues. Figure out what can and cannot change within a tune before getting carried away withsubstitutions.

The standard progression is shown below with four different harmonic settings. The top line is straightfrom very old lead sheet. The second and third lines are from different recently published versions. Thelast line is how I personally might play it.

The passing Gm chord, which was probably in first inversion with Bb in the bass in the original sheetmusic, does not show at all in the recent versions. I have added the Bb7 chord (acting as a TT7/vi),



which enhances the bass motion down to the A7. None of the recent versions use the V7/V in m.2 rely-ing on the unaltered ii7 chord. All of the modern versions feature some kind of a turnaround to get tothe ii7 chord coming up in m.5. The Fmaj7 and the Dm7 chords in m.3 are similar sounding and workto progress to the iii7 chord in m.4.

Progression no. 31 Cmaj7 Gm A7 ’ D7 ’ G7 ’ C ’ ’ ’ ’ ’ ’ C dim.

Cmaj7 ’ A7 ’ Dm7 ’ G7 ’ C ’ Fmaj7 ’ Em7 ’ A7 ’

Cmaj7 ’ A7 ’ Dm7 ’ G7 ’ C ’ Dm7 ’ Em7 ’ A7 ’

Cmaj7 Bb7 A7 ’ Dm7 ’ G7 ’ C ’ Fmaj7 ’ Em7 ’ A7 ’

1 (or D#°7)

The F chord in the original lead sheet at m.5 was probably a Dm7 chord with a D in the bass of the pi-ano arrangement, but that part was cut off to make the fake books. The tonic chord has been replaced bythe iii7 chord in two versions. In the bottom line there is a descending bass line to the root of the iii7chord. All versions used typical turnaround progressions to get back to the tonic chord that begins therepeat of the A section in m.9.

Progression no. 31 Fmaj7 ’ ’ ’ G7 ’ ’ ’ C ’ A7 ’ F ’ G7 ’

Dm7 ’ ’ ’ G7 ’ ’ ’ Em7 ’ A7 ’ Dm7 ’ G7 ’

Dm7 ’ ’ ’ G7 ’ ’ ’ C ’ A7 ’ Dm7 ’ G7 ’

Dm7 ’ ’ ’ G7 ’ G/F ’ Em7 ’ A7 ’ Dm7 ’ G7 ’

5

The biggest harmonic differences between the versions occur in the bridge of the tune. The F chord inm.17 is commonly replaced by Dm7. The D#°7 is labeled by two other names: C dim. and Eb°7. D#°7, thevii°7 of iii, is the most logical label. The three modern versions use Dm7 in place of the F at the begin-ning of the next phrase and prepare for it with the secondary dominant, A7 (V7/ii).

Progression no. 31 F ’ G7 ’ C ’ C dim. ’ F ’ G7 ’ C ’ ’ ’

Dm7 ’ G7 ’ Em7 ’ Eb°7 ’ Dm7 ’ G7 ’ C ’ A7 ’

Dm7 ’ G7 ’ Em7 ’ Eb°7 ’ Dm7 ’ G7 ’ C ’ A7 ’

Dm7 ’ G7 G/F Em7 ’ D#°7 ’ Dm7 ’ G7 ’ C ’ A7 ’

17



The modern versions use a Dm7 in place of the F at m.21. There are three choices for arriving at theAm7. The first and third versions use the deceptive V7 - vi7 cadence with no preparation for the A mi-nor area. The second version uses the iiø7/vi7 - V7/vi, strong because of the descending fifths in thebass line. The bottom version uses a chromatic bass line moving from the G7 (V7) to the G#°7 (vii°7/vi).

Progression no. 31 F ’ G7 ’ Am ’ C ’ B7 ’ ’ ’ E ’ G7 ’

Dm7 ’ Bø7 E7 Am7 ’ Am/G ’ F#m7 ’ B7 ’ Emaj7 ’ G7 ’

Dm7 ’ G7 ’ Am7 ’ Am/G ’ F#m7 ’ B7 ’ Emaj7 C#m7 Dm7 G7

Dm7 ’ G7 G#°7 Am7 ’ Am/G ’ F#ø7 ’ B7 ’ Emaj7 ’ Dm7 G721

The following compares the bridge from a sheet music version to a possible reharmonization. Both ver-sions begin on F and land on the Dm7 chord in m.3. The reharmonization approaches the Dm7 by de-scending fifths. A7 is the secondary dominant (V7/ii) which suggests using Em7 (iii7) or I in first inver-sion instead of the I chord. If Em7 is used in place of I, then it can be tonicized by the iiø7/iii - V7/iiiprogression. The F chord, as IV in the key of C, shares the same third, fifth and seventh with the F#ø7 sothe only change between those chords is in the bass line.

Progression no. 32 chords from sheet musicF ’ ’ ’ C ’ C#°7 ’ Dm7 ’ G7 ’ C ’ ’ ’

1

F ’ F#ø7 B7 Em7 ’ A7 ’ Dm7 ’ G7 ’ C ’ Bø7 E7

Listen to the descending bass line in m.5 in the lower staff. Both versions agree at the Am7, Em7, D7, G7and the C in the second phrase. The lower version has more motion with the added iiø7/iii - V7/iii, theV7/ii, the vii°7/iii, and the iii7 - V7/ii - ii7 - V7 leading back to the tonic chord.

Progression no. 32 chords from sheet musicAm ’ ’ ’ Em ’ ’ ’ D7 ’ ’ ’ G7 ’ ’ ’ C5

Am Am/G F#ø7 B7 Em7 ’ A7 ’ D7 ’ D#°7 ’ Em7 A7 Dm7 G7 C

A common substitution in jazz performance is to use a iiø7 - V7 or a ii7 - V7 in place of the vii°7 fromold published versions. Many performers considered the diminished seventh chord to be old fashionedcompared with the “new and improved bebop ii7 - V7” progression. In progression no. 33, neither theG#°7 nor the Bm7 - E7 point to the Gm7. The Bm7 - E7 functions the same a G#°7, pointing to the key ofA or A minor. This G#°7, the vii°7/iii, is often found resolving to a ii7 chord. The Bbmaj7 keeps the bassmoving down in fifths.

Progression no. 33

G#°7 ’ ’ ’ Gm7 ’ C7 ’ Fmaj7 ’ ’ ’ Eø7 ’ A7 ’ Dmaj7

Bm7 ’ E7 ’ Gm7 ’ C7 ’ Fmaj7 ’Bbmaj7 ’ Eø7 ’ A7 ’ Dmaj7

In progressions no. 34, the G#°7 is replaced with a change of quality. The Abm7 and The G#°7 share thesame root and third, but have different qualities because of the difference between the perfect fifth ofthe Abm7 and the diminished fifth of the G#°7. The Abm7 - Db7 does not point the same place as theG#°7, but creates a chromatic side-slipping passage from the Am7 to Abm7 and finally the Gm7. Thechords slip down by half step, but the Abm7 and Db7 chords are from the key of Gb, a half step above F.



Progression no. 34

Bbmaj7 ‘ Bbm7 Eb7 Fmaj7 ‘ G#°7 ‘ Gm7

Bbmaj7 ‘ Bbm7 Eb7 Am7 ‘ Abm7 Db7 Gm7

A diminished seventh chord and a iiø7 - V7 point to a minor key and can be used interchangeably. Inan actual performance there may be no way to tell the difference. The soloist may be thinking one pro-gression and the bass player another as both sets of chords share the same pitches and those pitchespoint to the same minor key. This common passage may be thought of in either of the two ways shownor both ways simultaneously. The G#°7 or the Bø7 - E7 point to the ii7 chord Am7. The A#°7 or the C#ø7- F#7 point to the iii7 chord Bm7. Sometimes, instead of resolving to the iii7 chord Bm7, the I chord Gmajor in first inversion may occur in this passage as a deceptive resolution of the F#7.

Progression no. 15

Gmaj7 ’ ’ ’ G#°7 ’ ’ ’ Am7 ’ ’ ’ A#°7 ’ ’ ’ Bm7

Gmaj7 ’ ’ ’ Bø7 ’ E7 ’ Am7 ’ ’ ’ C#ø7 ’ F#7 ’ Bm7

Jazz performers often reharmonize simple passages from the original published versions of jazz stan-dards. These extra chords create more motion and add color. The original version of progression no.35 has the tonic chord lasting for two measures before moving to the ii7 chord. A more commonly per-formed version utilizes a turnaround progression to the ii7 chord: I - IV - iii7 - V7/ii - ii7. Instead of theambiguous A diminished, the iiø7/iii - V7/iii chords are commonly used in the fourth measure andpoint to a Dm7 (iii7) chord in m.5.

Progression no. 35Bb ’ ’ ’ ‘ Cm7 ’ G7 ’ A dim. ’ ’ ’

1

Bbmaj7 ’ Ebmaj7 ’ Dm7 ’ G7 ’ Cm7 ’ Cm/Bb ’ Eø7/A ’ A7 ’

In order to keep the progression moving and sustain the dissonance, the I chord is often avoided in themiddle of a progression. If the progression leads back to the tonic chord too soon or too often, it be-comes commonplace. If the return to tonic has been averted by using other chords, tonicizations andsubstitutions, then when the music finally returns to tonic it will be all the more potent. It retains moreof its strength from not being overused. Imagine a trip around the block: how much would you misshome if gone only a few minutes? Weeks on the road will make someone long for home again. You mustdepart in order to return. If the I chord is heard in the first measure, again in the fifth, and again at therepeat of the first section at m.9, the impact of the tonic chord will be lessened.

At m.5 of progression no. 35, the original sheet music called for a return to the tonic chord. The use ofthe iii7 (or a I chord in inversion) saves the return to tonic for the next phrase. The D7 is a secondarydominant which points to the vi7 chord. The Db9 chord is a tritone substitute to for the V7/ii (G7) andpoints to the Cm7 chord. The Cø7 is a borrowed chord from the parallel key of Bb minor and adds an-other dimension of color to the progression. Setting up a cadence to Bb minor is another way ofstrengthening the resolution to major in the second eight measure phrase. The lowered pitches sug-gested by the borrowed iiø7/i chord create a darker sound which will make the ultimate resolution tomajor sound brighter than it would have coming from the diatonic ii7 - V7 chords Cm7 - F7.

Progression no. 35Bb ’ ’ ’ Gm7 ’ ’ ’ Cm7 ’ ’ ’ F7 ’ ’ ’

5

Dm7 ’ D7 ’ Gm7 ’ ’ Db9 Cm7 ’ ’ ’ Cø7/Gb ’ F7 ’



Many passages lend themselves to multiple reharmonizations. Four versions are shown below formm.13-16 of progression no. 35. This is the end of the B section that leads back to the A section and thetonic Bb chord. The top line is from an old lead sheet version; the other three are from published orperformance variations. All four begin with Gm and end with F7, but are quite different in between.

The second line reinforces the Gm7 in m.13 by using its dominant D7. The V7/V, C7 never resolves to F,but instead changes chord quality from a dominant to a minor 7 and becomes the diatonic ii7 chord,Cm7. The Cm7 - G7 - Cm7 in mm.15-16 mirrors the earlier passage Gm7 - D7 - Gm7. The ii7 chord,Cm7, is then followed by the F7, the dominant which prepares the return to tonic.

The third line path is the same as the second line until the C7, the V7/V. The C7 moves to a C#°7, thevii°7/iii, setting up the last two measure turnaround iii7 - V7/ii - ii7 - V7. The C7 and the C#°7 share thesame third, fifth and seventh so only the bass note changes. The C7 points to the key of F (1b) and thenthe C#°7 points to the key of D minor (1b plus the leading tone C#).

The fourth line begins with a descending bass line to the Eø7. The last three measures utilizes a circle offifth root progression with iiø7 - V7 of iii, iii - V7/ii and then the ii7 - V7 leading back to the I chord. Inthe second measure, the Dm7 (iii) is tonicized sooner by the Eø7 and A7 than it was in the third line.

Progression no. 35Gm ’ ’ ’ C7 ’ ’ ’ F7 ’ ’ ’ F7 ’ ’ ’

13

Gm ’ D7 ’ Gm7 ’ C7 ’ Cm7 ’ G7 ’ Cm7 ’ F7 ’

Gm ’ D7 ’ Gm7 ’ C7 C#°7 Dm7 ’ G7 ’ Cm7 ’ F7 ’

Gm ’ Gm/F ’ Eø7 ’ A7 ’ Dm7 ’ G7 ’ Cm7 ’ F7 ’

Sometimes an old lead sheet version is so simple it not only allows, it demands reharmonization. The Ichord in progression 36 below lasts four measures and then the vi7 chord appears suddenly withoutpreparation. While there is nothing wrong with this, at slow and medium tempos the lack of motion canimpair the momentum of the piece (and may be interpreted by some to be a bad musical joke at theexpense of a beautiful composition). A few moving chords can create motion to keep the progressionalive. Working backwards, the E7, V7/vi prepares the Am7 chord. The diatonic ii7 - V7 chords can antic-ipate the short return of tonic in the fourth measure. To prepare the ii7 chord a typical I - IV - iii7 -V7/ii could be considered. Why then is the D#°7 used instead of the A7, the V7/ii? The melody must al-ways be considered when reharmonizing. There is a Bn in the melody in the second half of m.2 that con-traindicates the use of an A7. The A7, as the V7 in the key of D minor suggests the key of one flat (Bb).The vii°7/iii resolving deceptively, as it often does, to the ii7 chord provides chromatic color and satis-fies the Bn in the melody. With Bn in the melody over the D#°7, it will sound like a B7b9 in first inversion.How can that point to Dm7? It does not point to Dm7, but is logical as a chord following the Em.

Progression no. 36

C ’ ’ ’ ‘ ‘ ‘ Am ’ ’ ’

1

Cmaj7 ’ Fmaj7 ’ Em7 ’ D#°7 ’ Dm7 ’ G7 ’ C ’ E7 ’ Am ’ ’ ’

(Dm7)

The melody is the most important factor when consideration any harmonic setting. The second con-cern should be with the bass line and its relationship to the melody. Most of the progressions dealt withso far have had chords only in root position. The bass lines have been considered with emphasis on thetypical downward fifth progressions like V7 - I and ii7 - V7 - I. There are times when the use of an inver-sion can create interest in a harmonic progression that supports the melody. The commonly played



version on the top line of progression no. 6 serves the melody and is itself interesting enough. Thelower version has a descending step line in the bass: F - E - (A) - D - Db - C - B - Bb - A. Both progres-sions arrive at the Aø7 but by different paths. The lower version uses two chords over a pedal F, thedominant of Bb in m.9. The F bass note easily moves down a step to the Eø7. The A7 chord interruptsthe step line briefly but resolves to Dm7, the next note in the descending line. The Dm7 moves toDbmaj7, to keep the bass line moving down in steps. The Dbmaj7 is related to the Bbm7 chord (and maybe heard as a Bbm in first inversion) and moves easily to the F chord in second inversion. The F/C mir-rors the Bb/F chord in m.9 and continues the step line. The C bass note moves to the Bn and Bb, creatingtwo different quality G chords (G major and Gø7) and then steps down chromatically to the Aø7.

Progression no. 6

Bb ’ ’ ’ Eø7 ’ A7 ’ Dm7 ’ ’ ’ Bbm7 ’Eb7 ’

9

Cb/F Bb/F ’ ’ Eø7 ’ A7 ’ Dm7 ’ ’ ’ Dbmaj7 ’ ’ ’

Fmaj7 ’ ’ ’ Gm7 ’ C7 C/Bb Aø7 ’ ’ ’ D7 ’ ’ ’ G7 ’ ’ ’

13 (Eø7 ’ A7 ’)

Gb/C F/C ’ ’ G/B ’ Gø7/Bb ’ Aø7 ’ ’ ’ D7 ’ ’ ’ G7 ’ ’ ’

Not all harmonic substitutions are interchangeable. A pianist cannot assume the bass player will imagineall of his inventive substitutions and the soloist cannot assume the piano player will know or hear whatunusual substitutions he has practiced. Many basic substitutions will cause little conflict, and if so, onlyfor short episodes. For example, there is no real difference between a V7/ii and a vii°7/ii. If there are tobe major departures from the normal progressions, then some consultation should occur before theperformance. However, the band as a unit should be listening to each other for subtle changes and al-terations, being sensitive to each role and the overall character of the music.

There are times when the soloist will impose substitute harmony over a progression with or without therhythm section. These work as linear substitutions. The chords and lines are working on different levelsto point to a particular place. Things may not always agree vertically between the improvised line andthe rhythm section, but dissonances will resolve in a linear manner.

This is a typical turnaround progression found in blues, rhythm changes, and many other tunes. TheAm7 could be a substitute for the I chord in the middle of repeating the progression.

F D7 Gm7 C7 Am7

’ ’ ’ ’ ’ ’ ’ ’ ’

With Am7 as the goal, the C7 (V7) could be replaced by G#°7 (vii°7 of iii).

F D7 Gm7 G#°7 Am7

’ ’ ’ ’ ’ ’ ’ ’ ’

The progression could return to the F in first inversion instead of the Am7 and would still sound good.The two chromatic tones suggested by the G#°7, the G# and the Bn, will resolve to the A and C whetherchord is an F or Am7.

F D7 Gm7 G#°7 F/A

’ ’ ’ ’ ’ ’ ’ ’ ’

Charlie Parker used the harmonic substitution from above in the following excerpt from a blues impro-visation. The rhythm section may not have had time to adjust or predict the G#°7 chord. The bass player



could have played a C7 and resolved to Am7 and the lines still work. There are two chromatic voicessuggested by this passage which are shown below the melodic line.

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œœ

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F

ww

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Gm7 G#°7

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n#

œœ

F

ww

A similar linear substitution occurs in this example from Dexter Gordon. Is the last part of this progres-sion V7 - I (F7 to Bb) or is it A7 or C#°7 pointing to Dm7 or pointing to Bb in first inversion?

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Bb Gm7

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Cm7 F7 3

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Bb

Adding more harmonic movement can add life to static passages. The relation of the bass note to themelody is an important consideration, but remember that inner voices can create motion, too. The pas-sage below is a common I - ii7/IV - V7/IV - IV progression.

Progression no. 37

Ebmaj7 ’ ’ ’ ‘ Bbm7 ’ ’ ’ Eb7 ’ ’ ’ Abmaj7 ’ ’ ’

The passage is transformed with the additions below. The chord symbols on the top line below do nottell the whole story. The diatonic ii7, iii7, and IV chords have been added in the first two measures. Inthe last beat of m.2 the vii°7/v prepares for the change to Bbm7, which as ii7/IV signals the change tothe key of IV. Preceding the Eb7 and the Abmaj7 chords are tritone substitutions dominants. Thesechords alone satisfactorily ornament the original simple progression. The chromatic inner voice in thefirst two measures changes the focus from plodding chords to dramatic linear motion.

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b

b

b

b

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Ebmaj7 Fm7

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Gm7 Abmaj7 A°7

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Bbm9 E13

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Eb13 A13

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w

w

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Abmaj7

w

wb

Tempo and the overall mood and character of the piece should be considered when adding or subtract-ing harmonic content. The above passage works well in slow settings. The subtleties may be lost at fastertempos. Do not assume that slow passages must have added harmony to be interesting. Even very slowballads can benefit from the simplification of harmonic motion.



After a passage with half-note harmonic rhythm, it might be effective to slow the motion down ratherthan add more. There are two ways to achieve less motion. One device is to use fewer chords in the pro-gression; the other is to use a pedal point in the bass while the chords continue moving. The dominantpitch holding in the bass creates a restlessness after the moving passages, and when the bass releases thepedal, gives a forward thrust to the next section. The progression below is an A section to a beautiful bal-lad. The harmonic motion is constant with chords changing every two beats and then every beat.

Ebmaj7 C7 Fm7 Bb7 Ebmaj7 Db7 Cm7 Gb7 F7 Cb7 Bb7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Ebmaj7 Ab7 Dbmaj7 Gø7 C7 F7 Cb7 Fm7/Bb Bb7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

After the active A section, the B section continues with more half note harmonic rhythm using the I - vi7- ii7 - V7 progression below.

Ebmaj7 Cm7 Fm7 Bb7

’ ’ ’ ’ ’ ’ ’ ’

Using two devices in conjunction slows the pace. The vi7 and V7 chords have been removed and the Iand ii7 chords are placed over a Bb pedal below. The break in the harmonic rhythm allows the soloistor singer some freedom and will give the music a boost when the pedal is released.

Ebmaj7/Bb Fm7/Bb

’ ’ ’ ’ ’ ’ ’ ’

Pedals can be effective at any tempo. They can save a long performance of an up tempo piece by givingthe listener (and the bass player) a reprieve from the constant four beat swing feel. After a few chorusesof the following progression, dominant pedals through the B section might be welcome.

Progression no. 23.

Fm7 Bbm7 Eb7 Abmaj7 Dbmaj7 Dø7 - G7 Cmaj7 ‘

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Cm7 Fm7 Bb7 Ebmaj7 Abmaj7 Aø7 - D7 Gmaj7 ‘

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

(D pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ) (B pedal . . . . . . . . . . . . . . . . . . . . . . . . . )

Am7/D D7 Gmaj7/D ‘ F#ø7/B B7 Emaj7/B C7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Pedal released: motion returns

Fm7 Bbm7 Eb7 Abmaj7 Dbmaj7 Gb7 Ab/C B°7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Bbm7 Eb7 Abmaj7 (Gø7 - C7)

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’



The backdoor dominant chord is a variation of a plagal IV - iv - I resolution. In the second phrase ofprogression no. 38, the IV chord (Bb) is followed by the iv (Bbm7) then the backdoor dominant Eb7 re-solves to the I chord, F. To avoid an anticlimactic return to the home tonic chord too soon, the iii7chord, Am7 can replace the I chord as shown in the second line.

Cannonball Adderley recorded a tune with this progression and replaced the iii chord with a majorchord on the bIII. In another context anyone would have expected the Abmaj7 to follow Bbm7 and Eb7,but in the context of F major, the characteristic resolution of Eb7 would have been to the F or Am7. Theuse of the bIII chord creates a situation where the Eb7 to Abmaj7 is a surprise deceptive cadence! TheAbmaj7 chord is not far removed from the parallel key of F minor, and in this case, the melody note Cfits all of the possible chords m.7: F, Am7 and Abmaj7.

Progression no. 38

F ’ ’ ’ E7 ’ ’ ’ F ’ ’ ’ Cm7 ’ F7 ’

1

Fmaj7 ’ ’ ’ Bm7 ’ E7 ’ Fmaj7 ’ ’ ’ Cm7 ’ F7 ’

Bbmaj7 ’ ’ ’ Bbm7 ’ Eb7 ’ F Gm7 ’ C7 ’

5

Bbmaj7 ’ ’ ’ Bbm7 ’ Eb7 ’ Am7 ’ Dm7 ’ Gm7 ’ C7 ’

(Abmaj7’ ’ ’)

Two progressions are played more often than any others in jazz performances: the twelve measure bluesand “Rhythm Changes.” The forms for these two tunes allow for much freedom of expression withtempo and style. They both lend themselves to numerous harmonic possibilities. The variety of progres-sions can fit any number of moods, tempos and rhythmic settings. Blues may occur in all major andminor keys and Rhythm Changes may occur in any major key. The most prevalent keys for both are Bb

and F major. Here are the some basic harmonic progressions for blues in F major and minor and forRhythm Changes in Bb major with common substitutions. These progressions should be transposed andstudied for other commonly performed keys.

HARMONIC SUBSTITUTIONS for BLUES in F Major

Jazz musicians rarely use the three chord blues common to rock ‘n’ roll or country. A rock ‘n’ roll orcountry version of the basic blues would have a V chord in m.9 followed by a IV chord in m.10. In mostjazz performances, the ii7 - V7 progression is used. The barest jazz version of the blues progression isshown below. The most important structural points are:

• Usually begins on some chord built on tonic degree. It may be a modal chord and not nec-essarily a I chord in the major/minor traditional sense

• m.5 almost always includes a chord built on the fourth scale degree

• m.9-10 is a dominant area with either a V - IV (country, rock, simple jazz versions), ii7 - V7,or V7/V - V7 or other variations

• MM.11-12 may have some kind of a turnaround to return to I at the top of the form. Thetonic chord will not necessarily be a part of that turnaround as iii7 and other chords maysubstitute for I.



BARE MINIMUM JAZZ BLUES

F ’ ’ ’ ‘ ‘ F7 ’ ’ ’

1

Bb7 ’ ’ ’ ‘ F ’ ’ ’ ‘

5

Gm7 ’ ’ ’ C7 ’ ’ ’ F ’ ’ ’ ‘

9

The progression below is a more common version for improvisation in jazz performance. There is typi-cally a departure in m.2 to some chord built on the fourth degree. A secondary V7/IV may occur in m.4setting up the chord in m.5. A G#°7 in first inversion moves the bass note from Bb to Bn and then to theC with the F chord in inversion in m.7. The diminished chord in m.6 is often labeled a B°7. In m.8, asecondary dominant chord D7 (V7/ii) prepares the coming ii7 chord. The most common turnaroundoccurs in the last two measures: I - V7/ii - ii7 - V7 returning to the top of the form.

BASIC JAZZ BLUES with COMMON HARMONIC ADDITIONS

F ’ ’ ’ Bb7 ’ ’ ’ F ’ ’ ’ F7 ’ ’ ’

1

Bb7 ’ ’ ’ G#°7/B ’ ’ ’ F/C ’ ’ ’ D7 ’ ’ ’

5

Gm7 ’ ’ ’ C7 ’ ’ ’ F ’ D7 ’ Gm7 ’ C7 ’

9

Measures 1-4

A common addition is the ii7/IV - V7/IV in m.4:

F7 ’ ’ ’ Bb7 ’ ’ ’ F7 ’ ’ ’ Cm7 ’ F7 ’ Bb71 5

A ii7 - V7 in m.2 provides another variation of the slight departure from the I chord:

F7 ’ ’ ’ Gm7 ’ C7 ’ F7 ’ ’ ’ Cm7 ’ F7 ’ Bb71 5

Sometimes the tritone substitute dominant can occur in m.2. A tritone substitute dominant may also oc-cur in m.4:

F7 ’ ’ ’ Gb7 ’ ’ ’ F7 ’ ’ ’ Cm7 ’ Cb7 ’ Bb71 5

Here is a progression that Charlie Parker suggested in a example shown earlier. The Gm7 - G#°7 - Am7elaborates the tonic F area.

F7 ’ ’ ’ Gm7 ’ G#°7 ’ Am7 ’ ’ ’ Cm7 ’ F7 ’ Bb71 5

Sometimes a logical progression can be created by backing up from the destination. The destination ofall harmonic activity in the first four measures points to a chord built on the fourth degree occurring inm.5. The ii7/IV - V7/IV (Cm7 - F7) in m.4 prepare the Bb in m.5. The Cm7 is tonicized by its dominantG7, and the G7 can be preceded by the iii7 chord, Dm7 in m.3. The Dm7 chord is set up by the iiø7/vi -



V7/vi, Eø7 - A7 in m.2. The strong bass line of descending fifths begins the progression with the I - IV inm.1. As with all harmonic possibilities, consider the desired results and context. These changes are con-sidered “pretty” chords and would not be the best choice if trying to create “down ‘n’ dirty” blues.

F ’ (Bbmaj7) ’ Eø7 ’ A7 ’ Dm7 ’ G7 ’ Cm7 ’ F7 ’ Bb71 5

The concept of backing up from a destination is taken to the extreme in this example. Each dominantchord points down a fifth to the next and ultimately resolves to the expected Bb chord in m.5. This set ofchanges creates a great deal of melodic and harmonic tension, and may not be a good choice for a firstor second chorus. After a few choruses, this idea can wake up the entire band. The first dominant chordis a half-step above the expected F7.

F#7 ’ B7 ’ E7 ’ A7 ’ D7 ’ G7 ’ C7 ’ F7 ’ Bb71 5

Measures 5-8

This common version of the second phrase suggests an ascending bass line: Bb - Bn - C - D then resolvesdown a fifth to the ii7 chord. Why not call the G#°7/B a B°7? The G#°7 is the vii°7 of Am, a key that isclosely related to the key of F. The B°7 is the vii°7 of C minor, a much more remote key to the key of F.Labeling the chord as G#°7/B makes the distinction. (It would be possible to use B°7 in this context orother colorations, but vii°7/iii is the path of least resistance.)

Bb7 ’ ’ ’ G#°7/B ’ ’ ’ F7/C ’ ’ ’ D7 ’ ’ ’ Gm75 9

It is possible to precede the V7/ii with the iiø7/ii in m.8:

Bb7 ’ ’ ’ G#°7/B ’ ’ ’ F7/C ’ ’ ’ Aø7 ’ D7 ’ Gm75 9

The iiø7/ii, Aø7, can occur in m.7 before the V7/ii, D7 in m.8. It might be hard to distinguish the Aø7from an F9 chord as they share four pitches, and if the bass player chooses to play the F chord in firstinversion, it will sound like an Aø7.

Bb7 ’ ’ ’ ‘ Aø7 ’ ’ ’ D7 ’ ’ ’ Gm75 9

The secondary dominant A7, the V7/vi, can be used to set up the D chord. The A7 points to D minor,which becomes D7 in m.8. The A7 chord in first inversion continues the ascending step progression asshown before by adding the chromatic C#. The A7 chord is more common in slower gospel style blues.

Bb7 ’ ’ ’ G#°7/B ’ ’ ’ F/C ’ A7/C# ’ D7 ’ ’ ’ Gm75 9

A more bebop style setting may include a series of chromatic ii7 - V7 chords often inserted in mm.6-8.

Bb ’ ’ ’ Bbm7 ’ Eb7 ’ Am7 ’ D7 ’ Abm7 ’ Db7 ’ Gm75 9

A series of descending dominant chords may be used in mm.7-8. The D7 is the V7/ii. The Eb7 is a tri-tone substitute for the A7, the V7 of D. The E7 points to the A chord which could have been used inplace of the Eb7. This cycle is similar to the cycle that began on F#7 shown for the first four measures.



Instead of the dominants progressing in downward fifths, they progress to their destination in downwardhalf steps by using tritone substitutions.

Bb7 ’ ’ ’ ‘ F7 ’ E7 ’ Eb7 ’ D7 ’ Gm75 9

Measures 9-10

The most typical progression in mm.9-10 is the ii7 - V7:

Gm7 ’ ’ ’ C7 ’ ’ ’ F

9 11

A V7/V may replace the ii7 chord:

G7 ’ ’ ’ C7 ’ ’ ’ F

9 11

Chords may be borrowed from the parallel minor key of F minor. A iiø7/i and V7/I suggest the key offour flats:

Gø7 ’ ’ ’ C7 ’ ’ ’ F

9 11

A Db7 chord is the tritone substitute for the G7, the V7/V:

Db7 ’ ’ ’ C7 ’ ’ ’ F

9 11

A Gb7, the tritone substitute dominant can replace the C7:

Gm7 ’ ’ ’ Gb7 ’ ’ ’ F

9 11

Measures 11-12: The Turnaround back to the top

The most common turnaround is I - V7/ii – ii7 – V7:

F7 ’ D7 ’ Gm7 ’ C7 ’ F

11 1

The I chord may be avoided in m.11 by using the iii7:

Am7 ’ D7 ’ Gm7 ’ C7 ’ F

11 1

The iiø7/ii can precede the V7/ii and replace the I or iii7 chord. The Aø7 chord is very similar to theF9 chord and is indistinguishable from an F7 chord in first inversion.

Aø7 ’ D7 ’ Gm7 ’ C7 ’ F

11 1



An A7 can be used to point to the D7. The Ab7 and Gb7 chords are tritone substitutes for the D7 and C7.This creates a descending chromatic line in the bass.

A7 ’ Ab7 ’ Gm7 ’ Gb7 ’ F

11 1

Eb7 and Db7 are tritone substitutes for the A7 and G7. This creates another descending chromatic line inthe bass.

Eb7 ’ D7 ’ Db7 ’ C7 ’ F

11 1

Using the tritone substitutes for D7, G7 and C7 creates a cycle of tritone substitute dominants and a bassline of descending fifths that finally resolves down a half step to the F.

F7 ’ Ab7 ’ Db7 ’ Gb7 ’ F

11 1

Measures 9-12 Tritone Substitution Implications from bass lines

The tritone substitutions may be implied by the nature of a walking bass line. The D7, G7, C7 and F7chords are preceded by chromatic upper neighbor tones, which suggest the tritone substitutions asshown.

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9

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Gm7 Db7

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10

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A7 Eb7 D7 Ab7

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12

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G7 Db7 C7 Gb7

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“WEST COAST” or “PRETTY” BLUES

The blues progression below is sometimes called the “pretty” or “West Coast” blues. This progressionmay occur for the whole form if agreed upon ahead of time. It can sometimes be used as the last chorusor two of a longer solo ending with a more elaborate chord progression. The I chord moves down afifth to the IV chord. The IV chord moves down a diatonic fifth to the Eø7, the viiø7 of F, but function-ing as the iiø7/vi moving to the V7/vi. The Dm7 is the vi7 and naturally moves to the V7/v. The Cm7 -F7, ii/IV - V7/IV set up the Bb m.5. The second phrase is a series of descending chromatic ii7 - V7 pro-gressions finally reaching the ii7 - V7 in the key of F in m.9. The last four measures are usually playedwithout too much alteration from the common blues progression.

F ’ (Bbmaj7) ’ Eø7 ’ A7 ’ Dm7 ’ G7 ’ Cm7 ’ F7 ’

1

Bb ’ ’ ’ Bbm7 ’ Eb7 ’ Am7 ’ D7 ’ Abm7 ’ Db7 ’

5

Gm7 ’ ’ ’ C7 ’ ’ ’ F7 ’ D7 ’ Gm7 ’ C7 ’

9



HARMONIC SUBSTITUTIONS for BLUES in F Minor

There are a number of harmonic variations for minor blues. Minor blues share similar characteristicswith major blues including the chord in m.5 being built on the fourth degree and dominant area inmm.9-10. The chords are usually drawn from diatonic chords of minor keys.

Common Minor Blues Progression including a secondary iiø7/iv - V7/iv in m.4:

Fm ’ ’ ’ Bbm7 ’ ’ ’ Fm ’ ’ ’ (Cø7) ’ F7 ’

1

Bbm7 ’ ’ ’ ‘ Fm ’ ’ ’ ‘

5

Gø7 ’ ’ ’ C7 ’ ’ ’ Fm ’ ’ ’ Gø7 ’ C7 ’

9

This minor blues progression includes iiø7 - V7 departure in m.2 instead of the iv7 chord. The Gb7 inm.6 is a tritone substitute dominant preparing the return of the Fm chord in m.7. Db7 is a tritone substi-tute dominant functioning in the traditional sense, as an augmented sixth chord pointing to the V7. TheV7 sets up the return of the Fm chord in m.11. The turnaround includes the tritone substitute dominantsAb7 and Db7.

Fm ’ ’ ’ Gø7 ’ C7 ’ Fm ’ ’ ’ (Cø7) ’ F7 ’

1

Bbm7 ’ ’ ’ Bbm7 ’ Gb7 ’ Fm ’ ’ ’ ‘

5

Db9 ’ ’ ’ C7 ’ ’ ’ Fm ’ Ab9 ’ Db9 ’ C7 ’

9

This minor blues progression remains on the tonic pitch for the first few measures and suggests an innerchromatic voice: C – Db – D – Eb. The chord in m.2 sounds like a VI chord in first inversion, but is oftennotated as Fm#5. Obviously, a minor chord by definition has a perfect and not an augmented fifth, butthe Fm#5 shorthand in this context may help suggest the chromatic moving voice. The F7 in m.4 pre-pares the iv7 chord in m.5. The iv7 is also the ii7 chord in the relative Ab major (bIII) and continues tocycle in the key of Ab, through the V7/bIII - I/bIII - IV/bIII. The Gø7, even though shared by the two keys ofF minor and Ab major signals the return to F minor.

Fm ’ ’ ’ Db/F ’ ’ ’ Fm6 ’ ’ ’ F7 ’ ’ ’

1 (Dø7/F)Bbm7 ’ ’ ’ Eb7 ’ ’ ’ Abmaj7 ’ ’ ’ Dbmaj7 ’ ’ ’

5

Gø7 ’ ’ ’ C7 ’ ’ ’ Fm ’ Ab9 ’ Db9 ’ C7 ’

9



The boundaries of the blues have been stretched very far as evidenced by these next two examples.These harmonic progressions are for specific tunes and not standard blues substitutions.

This first progression could be considered a blues progression that wanders to remote keys and back inthe short twelve measure form. Some may argue this is not a blues progression, but it is a twelve measureform that moves to a chord built on the fourth degree in m.5. In performances of this piece, improvisersuse only this progression, never inserting traditional blues progressions.

Cmmaj7 ’ ’ ’ ‘ Gm7 ’ ’ ’ C7 ’ ’ ’

1

Fmaj7 ’ ’ ’ ‘ Fm7 ’ ’ ’ Bb7 ’ ’ ’

5

Ebmaj7 ’ ’ ’ Ebm7 ’ Ab7 ’ Dbmaj7 ’ ’ ’ Dø7 ’ G7 ’

9

The first five measures of the following blues progression behave as a typical blues, establishing thetonic key area first and then moving towards the iv7 chord in m.5. Things change quickly from m.6. TheAbm7 - Bb7 - Cbmaj7 are the iv7 - V7 - and VImaj7 chords from the remote key of Ebm. The Bbm7 and A7act as a ii7 and tritone substitute V7 to the key of Ab, but the Ab chord is a suspended dominant in thekey of Db. Order seems restored with the Fø7 - Bb7, the iiø7 - V7 to Eb minor, but wait, isn’t this blues is inC minor? The last measure brings it back around to the top and the tonic key with the V7/V - V7. In aperformance of the piece from which this progression was extracted, the improvisers use these changesfor the melody and only the last few choruses of each improvisation. Other improvised choruses useone of the standard minor blues progressions.

Cm7 ’ ’ ’ D7 ’ G7 ’ Cm7 ’ ’ ’ C7 ’ ’ ’

1

Fm9 ’ ’ ’ Abm7 ’ Bb7 ’ Cbmaj7 ’ ’ ’ Bbm7 ’ A7 ’

5

Absus7 ’ ’ ’ Fø7 ’ Bb7 ’ Ebm7 ’ ’ ’ D7 ’ G7 ’

9

HARMONIC SUBSTITUTIONS for RHYTHM CHANGES

The form for Rhythm changes is AABA. There are numerous possibilities for harmonic variations. A fewof the more common variations and substitutions are examined below, phrase by phrase.

A SECTION

Measures 1-4

This basic pattern for the first four measures uses the diatonic vi7 chord Gm7 in m.1, and substitutes thesecondary V7/ii chord G7 in m.3. All the chords cycle back to the tonic chord Bb.

Bb Gm7 Cm7 F7 Bb G7 Cm7 F7 Bb

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 5



A strong cadence to the tonic chord is avoided in m.3 by using the tonic chord in first inversion.Because of the inversion, the roots descend in fifths in mm.3-5.

Bb G7 Cm7 F7 Bb/D G7 Cm7 F7 Bb

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 5

The iii7 chord functions in the same way the first inversion tonic chord did in the previous example. Itavoids the strong immediate return to tonic and keeps the root progression in fifths.

Bb G7 C7 F7 Dm7 G7 Cm7 F7 Bb

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 5

Occasionally, the iii7 chord will chromatically pass through a C#m7 chord resolving to Cm7. This chordhappens quickly and may sound like a brief allusion to B major as C#m7 is the ii7 of B. Even if therhythm section plays the G7 the dissonant notes will resolve themselves in a linear fashion. The C#m7pitches, C#, E, G# and B may sound like the #11, 13, b9 and major third of the G7 chord whose place ittakes.

Bb G7 Cm7 F7 Dm7 C#m7 Cm7 F7 Bb

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 5

An interesting bass line can be created using secondary dominants in inversion. The G7 is V7/ii. The A7is the V7/iii and points to the Dm7 chord standing in place of the original tonic chord Bb. After the as-cending chromatic line Bb-Bn-C-C#, the roots again move in descending fifths back to the tonic chord.

Bb G7/B Cm7 A7/C# Dm7 G7 Cm7 F7 Bb

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 5

There is little difference between the use of secondary dominants or secondary vii°7 chords when point-ing to minor keys. A G7 or B°7 points to Cm7, and an A7 or C#°7 points to Dm7. The secondary vii°7chords create the same ascending bass line as the example above with inverted secondary dominants.

Bb B°7 Cm7 C#°7 Dm7 G7 Cm7 F7 Bb

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 5

This passage contains secondary dominants and tritone substitutions. The Db7 stands in the place of G7.The C7 is the V7/V and points to the F7 chord. The Cb7 is the tritone substitute for the F7 and pointsback to Bb. The second two measures reverses the secondary dominants and the tritone substitutions.The Gb7 substitutes for the C7 and points to the F7.

Bb Db7 C7 Cb7 Bb G7 Gb7 F7 Bb

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 5

Clifford Brown used this progression for a composition. The Db7, Gb7 and Cb7 are tritone substitutes inthe first two measures. The second phrase features descending dominants.



Bb Db7 Gb7 Cb7 Bb7 Ab7 Gb7 F7 Bb

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 5

It is possible to work backwards from the Bb in m.5 and to find a cycle of dominants. This, like the simi-lar example in the blues progressions, starts the progression on a chord very remote from the key signa-ture. This can be effective later in an improvisation, but is usually not used in the first chorus.

F#7 B7 E7 A7 D7 G7 C7 F7 Bb

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 5

It is possible to impose a progression similar Coltrane’s Giant Steps harmonic cycle (progression no.24). This progression points to remote rather than closely related keys. Closely related keys are one ac-cidental removed from the home key. Coltrane modulated to keys that divided the octave into majorthirds. From the home key of Bb, the progression modulates to Gb and D.

Bb Db7 Gb A7 D F7 Bb Bb

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 5

Measures 5-8

There is usually a modulation in m.5 to the IV chord in m.6. The tonic chord changes quality and be-comes the V7/IV which anticipates the Eb in m.6. The bass line ascends to En but the chord is labeled aC#°7 as the vii°7/iii7. The Bb chord in m.7 could just as easily be a Dm7 which helps explain the C#°7.The basic turnaround figure returns in mm.7-8. The second chord in m.5 is often in first inversion creat-ing the ascending bass line: Bb - D - Eb - En - F.

Bb Bb7/D Eb C#°7/E Bb/F G7 Cm7 F7 Bb

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

5 9

This version of mm.5-8 features a descending bass line: Bb - Ab - G - Gb - F:

Bb Bb7/Ab Eb/G Ebm/Gb Bb/F G7 Cm7 F7 Bb

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

5 9

A ii7/IV - V7/IV could be used in m.5 and Ab7, a backdoor dominant, can be used in m.6.

Fm7 Bb7 Eb Ab7 Bb/D G7 Cm7 F7 Bb

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

5 9



Measures 5-6

Any combination of chords which point to IV may be used in m.5: A tritone substitute dominant may be

preceded by a V7/IV: or the ii7/IV:

Bb7 E7 Eb Fm7 E7 Eb

’ ’ ’ ’ ’ ’ ’ ’ ’ ’

5 6 5 6

Measures 7-9

Any variation of the basic turnaround figure may occur in mm.7-9 to return the progression to the tonicchord at the beginning of the second A section.

Diatonic chords:

Bb Gm7 Cm7 F7 Bb

’ ’ ’ ’ ’ ’ ’ ’ ’

7 9

The first inversion of the tonic chord followed by the V7/ii:

Bb/D G7 Cm7 F7 Bb

’ ’ ’ ’ ’ ’ ’ ’ ’

7 9

The secondary chords iiø7/ii and V7/ii point to the ii7:

Dø7 G7 Cm7 F7 Bb

’ ’ ’ ’ ’ ’ ’ ’ ’

7 9

Tritone substitute dominants in place of G7 and F7:

Bb Db7 C7 Cb7 Bb

’ ’ ’ ’ ’ ’ ’ ’ ’

7 9



Measures 15-17

The last two measures of the second A section, mm.15-17, are different than the end of the first A sec-tion. This part of the progression resolves back to the tonic chord in m.16 and before moving to the Bsection.

F7 Bb D7

’ ’ ’ ’ ’ ’ ’ ’ ’

15 17

Bb/F F7 Bb D7

’ ’ ’ ’ ’ ’ ’ ’ ’

15 17

B SECTION: Measures 5-8

The bridge is a variation of the traditional turnaround chords with longer harmonic values. The mostbasic turnaround progression is Bb - Gm7 - Cm7 - F7. With the iii7 chord in place of the Bb chord itwould be Dm7 - Gm7 - Cm7 - F7. Using all secondary dominants would be D7 - G7 - C7 - F7, the identi-cal chords for the basic B section. In the A sections the chords occur with a half note harmonic rhythm;in the B section each chord lasts for eight beats.

When encountering a D7 in the key of Bb, it is normally the V7/vi pointing to the relative G minor. TheG7 would be assumed to be the V7/ii pointing to the Cm7 chord. It is possible to mix modes making theD7 the V7 of G (V7/VI) and the G7 the V7 of C (V7/II.). An improviser may choose any number ofcombinations using these dominant chords to point to major or minor secondary keys.

The basic bridge : V7/VI - V7/II - V7/V - V7.

D7 ‘ G7 ‘ C7 ‘ F7 ‘

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

17

Any dominant chord may be paired with a ii7 chord.

Am7 D7 Dm7 G7 Gm7 C7 Cm7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

17

The G7 is replaced by the tritone substitute dominant Db7 and the F7 replace by the tritone substitutedominant Cb7 creating a descending chromatic line in the bass in the example below.

D7 ‘ Db7 ‘ C7 ‘ Cb7 ‘

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

17



The D7 is replaced by the tritone substitute dominant Ab7 and the C7 replace by the tritone substitutedominant Gb7 creating a different descending chromatic line in the bass in the following example .

Ab7 ‘ G7 ‘ Gb7 ‘ F7 ‘

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

17

The cycle of dominants with tritone substitutions from the above example can be preceded by ii7chords. This creates a descending chromatic progression in three keys (bIII, II, and bII) leading back tothe tonic key of I, Bb.

Ebm7 Ab7 Dm7 G7 C#m7 F#7 Cm7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

17 ii7/bIII V7/bIII ii7/II V7/II ii7/bII V7/bII ii7 V7

Another set of chromatically descending dominants may be preceded by ii7 chords creating this de-scending chromatic progression. After descending through the keys of G, Gb, and F, the B7 can act as atritone substitute dominant pointing back to the tonic key of Bb.

Am7 D7 Abm7 Db7 Gm7 C7 F#m7 B7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

17 ii7/VI V7/VI ii7/bVI V7/bVI ii7/V V7/V ii7/bV V7/bV

This is a less common, but possible B section progression that utilizes a series of descending chromaticii7 - V7 progressions. It begins in A, and goes through Ab, Gb, F, and E major. Again the B7 chord in m.24acts as a tritone substitute dominant pointing back to the tonic key of Bb. The harmonic progression isrhythmically compressed as the progression moves forward. The original B section changes were a re-prieve from the crowded, fast harmonic rhythm of the A section. It is ironic how jam-packed chords theprogression in the B section can become.

Bm7 E7 Bbm7 Eb7 Am7 D7 Abm7 Db7 Gm7 C7 F#m7 B7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

17

There are a few tunes that have a different sort of eight measure B section that begins with the V7/IVand moves to the IV, the V7/V and V7 chord before returning to the tonic chord at the beginning of thelast A section.

Bb7 ‘ Eb‘ C7 ‘ F7 ‘

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

17



COMPLETE RHYTHM CHANGES PROGRESSION

Here is a possible set of chord changes for the entire progression. This is not THE version, only one ofmany possible variations.

Bb G7 Cm7 F7 Dm7 G7 Cm7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1

Bb Bb7/D Eb Ab7 Dm7 Db7 Cm7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

5

Bb B°7 Cm7 C#°7 Dm7 G7 Cm7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

9

Fm7 Bb7 Eb C#°7/E Bb/F F7 Bb

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

13

Am7 D7 Dm7 G7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

17

Gm7 C7 Cm7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

21

Bb G7 Cm7 F7 D7 G7 C7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

25

Fm7 E7 Eb C#°7/E Bb/F F7 Bb

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

29



STANDARD TUNE APPLICATION

Here is a very simple progression from a tune performed by everyone from Bobby Darrin to SonnyRollins. The basic diatonic chords are I, ii7, V7, and vi7 as shown below. Fill in the blanks using typicalharmonic progressions pointing to the given destinations. At the *, use a tritone substitute and at the ‡,use a deceptive diminished chord from half step above.

Progression no. 39

Bb ________ ________ ________ Cm7 ________ ________

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1

Cm7 ________* F7 ________* Bb ________ ________ ________

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

5

Gm7 ________‡ Cm7 ________ ________

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

9

Cm7 ________* F7 ________* Bb ________ ________ ________

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

17



Progression no. 39 with harmonic additions.

Bbmaj7 Ebmaj7 Dø7 G7 Cm7 Dø7 G7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

1 IV iiø7/ii V7/ii iiø7/ii V7/ii

Cm7 Gb9* F7 C b9* Bb Ebmaj7 Aø7 D7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

5 IV iiø7/vi V7/vi

Gm7 C#°7‡ Cm7 Dø7 G7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

9 iiø7/ii V7/ii

Cm7 Gb9* F7 C b9* Bb G7 Cm7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

17 V7/ii ii7 V7

SUGGESTED EXERCISES

• Augment other common harmonic progressions using secondary dominants, work-ing back from a specific harmonic point.

• Find recordings and compare the harmonic structures with other recordings of thesame music

• Compare different published versions of the same music

• How do recorded performances compare with published versions of the harmony?

• Compare the harmonic vocabulary between different improvisers on the samerecording of a tune? Does the same improviser approach similar sections with thesame harmonic progressions? Do all the improvisers approach the music using thesame harmonic progressions?

• Examine melodic transcriptions and compare the relationship of the melodies tothe underlying harmony. Was the improviser adhering to all the harmonic implica-tions? Were sections being generalized? Were certain chords ignored? Were otherharmonic substitutions suggested by the lines?

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