Chord Substitutions

The Jazz Guitarists Survival Guide

Any chord progression can be reharmonized. Chord substitutions describe

what I like to call new harmonies with the same function. Skillful jazz
guitarists of all eras make use of them in comping and improvisation.
The practice of techniques employing alternate changes allow jazz musicians
to deepen their understanding of how chord progressions really work. Finding
more approaches to play the same old things is invaluable.
The following article addresses the substitution of harmony on a chord to
chord basis and then moves on to reharmonization techniques applied to
entire chord progressions.

Part 1 Chord by Chord Substitutions

By examining one specific chord inside a progression it is possible to find
alternatives. The most common way to look at this is to find chords that share
common notes.

First, Diatonic Chord Substitutions:

It is easy to find chords with common notes in the context of a key signature.
Examine the seven chords in the key of the moment and? If you pick
*any* chord, two other chords in that same key will share three notes with the
original! (always)

In the key of C: Cmaj7 can be substituted for Am7 or Em7.

Cmaj7 (C E G B) shares three notes with Am7 (A C E G)
(A is a third below C)
and
Cmaj7 (C E G B) shares three notes with Em7 (E G B D)
(E is a third above C)
And what do I mean exactly? (-;

Try this: In the context of a band, if you play Am7 while the bassist is playing
C root, it sounds like C major 6th. (Neat huh!?) Again, in a band context, if
you play Em7 while the bassist is playing C root, it sounds like C major 9th.
(Even neater huh?!?!) How is that happening? The pictured example clearly
demonstrates that the notes in Em are in fact the same as Cmaj without the
root:

The notes in Em and Em7 function as (respectively) 3 5 7 and 3 5 7 9 in the C

chord
Other chords in the key (or outside of the key for that matter) may offer
interesting options for jazz guitar chord substitutions. They are yours to
discover. Analyze, research, explore and make sure it sounds good to you!

Second, Dominant Chords Alternative : Diminished

Still looking at common notes, lets examine one chord type specifically :
[vintage horror film tone] the terrifying dominant 7 flat 9 chord!!! The
dom7(b9) are spelled 1 3 5 b7 b9 and are used to resolve in V-I situations most
of the time. For example : G7(b9) to C. The beauty of the dom7(b9) is its
symmetrical characteristics (when we forget of the root.) A B diminished
7th chord resides inside the G7(b9)!

The dominant will get the symmetrical characteristics of its related

diminished in heritage! Thats like the chords genetic code.
A little theory refresher: The diminished chord being a symmetrical structure,
it is movable as is up and down in minor thirds Meaning that B, D, F and
Ab diminished are in fact the same exact chord! (They share the same four
notes.)

What does it sound like to you? Do you foresee those four possible diminished
for every dominant as chord substitutions? I say play B, D, F or Ab diminished
when you see G7(b9) on the chart.
Or, more generically: Play a diminished on the 3rd, 5th, b7th or b9th of any
dom7(b9) chord.

Part 2: On Chord Progressions

By examining a specific progression it is possible to find alternatives. The
most common way to look at this is to find progressions that share the same
destination.
Caution: nothing works all of the time! Make sure you keep the chords
functionality when its needed in the context.

First, Interpolation and Back Cycling:

Jazz musicians play the II-V cadence most of the time when resolving to the I
chord. Therefore, the V-I can become II-V-I. It is know as interpolation. In this
example, I put the II in front of the V:

This principle works fine even if theres no resolution to the I chord. Simply
add the appropriate II chord in front of the V, like in the Bb rhythm changes
bridge: (each dominant is in fact a temporary I)

Alright? So back to the situation where we want to resolve back to the I

We had V-I becoming II-V-I. We can add another II-V a whole-step higher
to get III-VI-II-V. And then we could even add one more II-V upfront. That
means to start on the #IV (F#) to get to I (C):

This is called back cycling. The added II-Vs each contain the dominant
of the next II chord. (A7 goes to Dm; B7 goes to Em and so on) The back
cycling chords should generally be min7th(b5) to dom7(b9) because they
resolve to a minor quality chord (the next II):

Other possibilities exist of course. Here again, the other chord substitutions
are yours to discover. Listen to pianists and guitarists on jazz recordings and
find your own favorite back cycling tricks.

Second, the Infamous Tritone Substitution (at last!)

This type of substitution is the classical Neapolitan Sixth for dummies uh, I
mean for jazzmen ! Sorry (-;

Two dominant chords that are a tritone apart (three whole-steps) share the

same 3rd and b7th (but inverted as pictured):

The interval created by the 3rd and the b7th is a tritone. That can be a little
confusing! *The tritone is a raised fourth or a diminished fifth*
Remember: Dominant chords a tritone apart share the same tritone ! The
presence of this ambivalent tritone interval means that the bII chord has the
same function as the V chord. Why? The tritone interval (present in both V
and bII) tends to resolve the same way to the I chord! Try it:

Thats it for the theory side of tritone chord substitutions. feeew

Still there? Good!

In real life, tritone subs transform the up a fourth motion into the
descending by semi-tones motion. Jazz musicians use this concept freely in
composition, improvisation and comping. A few good examples will clarify
this. The basic III-VI-II-V-I is used to demonstrate the alternate chords :

[The last example is present in the tune Lady Bird by Tadd Dameron.]

Third, Changing the Color:

That is just very obvious but I want to talk about it a little bit. Its like the
cherry on top for jazz chord substitutions.
Any chord can be played using another color. It works particularly well on
chords than have already been substituted. For instance, if you play Db7
instead of G7

Try Db major 7th, or

Db diminished 7th, or
Db major 6th, or
Db _________ (write your own!)
etc.
This is a great compositional and improvisational device. It creates great
contrast and can give the substitution less of a clunky feeling.
Some examples using the same progression as above:

Final Words
There is a lot more to understand in chord substitutions. I could write
a book (or two) about it but it would be pointless to simply read about it.
Real music comes from experimentation and practice. Its best to learn from
recordings, in rehearsals and to attend concerts.
I established the basics on this page, you go on and find what you like how
toplay alternate changes. Keep your ears wide open and youll always
discover new fresh ideas. Have fun!