Chapter 8 Harmonic Substitutions & Turnarounds 151

VIII. Harmonic Substitutions & Turnarounds

Harmonic progressions in a jazz performance are very liquid and pliable. Many commonly performed
jazz standard tunes have no agreed upon “correct” set of chords. Comparing several performances or
recordings will reveal different harmonic progressions for the same tune. The differences may vary
greatly 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 device
for creating more or less tension in the course of the performance. The progression may change within
a single performance, shifting between complex and simple. Assumptions about the “correct” set of
chords to a particular piece are usually based on the first source experienced. First sources include old
style lead sheets, legal or illegal fake books, and recordings of a specific artists. Harmonic preferences
and even standard keys for some tunes change for different regions of the world usually determined by a
influential group of local musicians. The creative approach of a single well-known artist may influence
the 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 agreed
upon 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 easy
piano arrangement. Earlier sheet music might have included simplified chord symbols for guitar, banjo
or ukulele above the top line. “Fake” books were made by cutting off the top melodic line of music with
whatever limited chord symbols appeared. These skeletal pieces were pasted two tunes to the page and
put together into books used by working musicians. Working musicians expanded the sparse harmonic
vocabulary 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 piano
part; the D bass note having been cut off for the “fake” book version. A iiø7 - V7 to the key of A minor
might appear as Dm6 - E7 in the banjo chords. The Dm6 shares the same notes as the Bø7, and with a B
in the bass in the cut off piano part would sound like a Bø7. As musicians played these tunes over the
years, 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 a
personal 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 strategies
for enhancing lead sheet progressions. Several versions of the same progressions are compared below
addressing 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 considerations
in this chapter will be confined to the major/minor system. There are other harmonic possibilities that
can be addressed only after acquiring a thorough understanding of the major/minor system.

Jazz Theory Resources

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 same
tonic chord. This creates twelve or more beats of the same static sound. Several other
chords may be placed in this area which create motion to replace the static harmony. The
new progressions are called “turnarounds” as they turn the piece around the top of the
form. 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 for
harmonic motion to replace the static harmony.

C C
I I

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

C Dm7 G7 C
I ii7 V7 I

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

C Am7 Dm7 G7 C
I vi7 ii7 V7 I

Secondary dominant chords can replace diatonic chords. The vi7 chord can be replaced by a V7/ii; the
ii7 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 C
I V7/ii V7/V V7 I

A secondary leading tone chord can be used in place of a secondary dominant chord. The C#°7, the
vii°7/ii, creates a chromatically ascending bass line which returns to the downward fifth motion with the
ii7 - V7 - I.

C C#°7 Dm7 G7 C
I 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 substitute
dominant would not appropriate. The roots of a sequence of tritone substitutions may progress in
downward fifths The bass line and the chromatic harmony create motion which points away and ulti-
mately resolves back to the tonic chord.

C E b7 A b7 D b7 C
I TT sub for V7/ii TT sub for V7/V TT sub for V7 I

Jazz Theory Resources

 Chapter 8 Harmonic Substitutions & Turnarounds 153

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

Em7 E b7 Dm7 D b7 C
iii7 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 chord
tones are sounded over the E7, they create colorful upper extensions (C= b13, E = Root, G = #9 of E7). A
descending chromatic bass line is shown below using all dominant chords.

E7 E b7 D7 D b7 C
V7/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 sound
interesting 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.

B b7 E b7 A b7 D b7 C
TT 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 dominants
and the dominant.

B b7 A7 A b7 G7 C
TT 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 C

I 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 will
sound the same but would have different upper extensions. The lowered third and sixth degrees of the C
minor scale yield the b13 and b9 over the G7.

Cmaj7 A bmaj7 Dø7 G7 (b13 b9) C

I 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 B b7 C

I vi7 IV or iv/i Backdoor deceptive I
resolution

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

Jazz Theory Resources

154 Chapter 8 Harmonic Substitutions & 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.

B bmaj7/F C bmaj7/F Bb
Over dominant I
pedal

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

B bmaj7 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’s
melodic material over this turnaround was a flurry of sixteenth notes.

B bmaj7 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 and
slowed the rhythmic activity of the melodic material to help the improvisation come to a close.

B bmaj7 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 on
the ii7 chord. Many compositions will at some point modulate from the key of I to the key
of 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 towards
the ii7 chord. The root motion is strong utilizing descending fifths.

Cmaj7 Eø7 A7 Dm
I 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 of
C (as IV) and the key of D minor (as bVI).

Cmaj7 Fmaj7 Eø7 A7 Dm

I 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 Dm
I V7/iii iii7 V7/ii ii

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

Cmaj7 B7 B b9 A7 Dm
I V7/iii TT sub for V7/vi V7/ii ii

Jazz Theory Resources

 Chapter 8 Harmonic Substitutions & Turnarounds 155

A strong downward fifth bass line through a series of tritone substitutions finally resolves to the ii7
chord in the following turnaround progression.

Cmaj7 F9 B b9 E b9 Dm
I TT sub for V7/iii TT sub for V7/vi TT sub for V7/ii ii

III. Turnarounds to Submediant (vi)

Pieces may end with a tonic chord in the last two measures of the form and may begin on
the vi7 chord. There are several tunes whose bridge or middle sections modulate to the key
of 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 Am
I iiø7/vi V7/vi vi

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

Cmaj7 Fmaj7 Bø7 E7 Am

I 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. This
chord occurs countless times in traditional music and might then be labeled an augmented sixth chord
with any number of international titles (French, Italian, German).

Cmaj7 F9 E7 Am
I 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 resolves
down a half-step to the vi chord.

Cmaj7 F9 B b9 Am
I 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 at
significant points in the form. Here are typical turnaround modulating from the key of I
to the key of IV.

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

Cmaj7 Gm7 C7 F
I ii7/IV V7/IV IV

Sliding chromatically to the ii7/IV. The chromatic Ab m7 chord is not as much functional as it is a
chromatic passing chord, but would probably sound like the ii7/bV.

Cmaj7 Am7 - (Abm7) Gm7 C7 F

I vi - (ii7/bV) ii7/IV V7/IV IV

Jazz Theory Resources

156 Chapter 8 Harmonic Substitutions & Turnarounds

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

Cmaj7 A b7 G7 Gb7 F
I TT sub for V7/v V7/IV TT sub for V7/IV IV

Cmaj7 D b7 C7 F
I 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 or
other 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 of
the Am7 chord; the A minor triad (A-C-E) becomes the 3-5-7 of the F# ø7 chord. The iiø7/iii - V7/iii
points the iii chord.

Cmaj7 Am7 F#ø7 B7 Em

I 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. In
this 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 Em
I Augmented 6th V7/iii iii
chord or TT sub
for V/vii

APPLICATION to STANDARD PROGRESSIONS

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

• The harmony supports the melody. Do not force harmony onto a piece that does not serve
the melody. I witnessed a pianist trying to get a singer to change the melody notes of an old
standard 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 standard
tune. For instance, some kind of chord built on the fourth degree is expected in m.5 of the
blues. Figure out what can and cannot change within a tune before getting carried away with
substitutions.

The standard progression is shown below with four different harmonic settings. The top line is straight
from very old lead sheet. The second and third lines are from different recently published versions. The
last 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 sheet
music, does not show at all in the recent versions. I have added the Bb7 chord (acting as a TT7/vi),

Jazz Theory Resources

 Chapter 8 Harmonic Substitutions & Turnarounds 157

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 to
the ii7 chord coming up in m.5. The Fmaj7 and the Dm7 chords in m.3 are similar sounding and work
to 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 by
the iii7 chord in two versions. In the bottom line there is a descending bass line to the root of the iii7
chord. All versions used typical turnaround progressions to get back to the tonic chord that begins the
repeat 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 in
m.17 is commonly replaced by Dm7. The D#°7 is labeled by two other names: C dim. and Eb°7. D#°7, the
vii°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

Jazz Theory Resources

158 Chapter 8 Harmonic Substitutions & Turnarounds

The modern versions use a Dm7 in place of the F at m.21. There are three choices for arriving at the
Am7. 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 the
bass 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 G7

21

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/iii
progression. The F chord, as IV in the key of C, shares the same third, fifth and seventh with the F#ø7 so
the only change between those chords is in the bass line.

Progression no. 32 chords from sheet music

F ’ ’ ’ C ’ C#°7 ’ Dm7 ’ G7 ’ C ’ ’ ’
F#ø7 B7
1

F ’ 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, G7
and the C in the second phrase. The lower version has more motion with the added iiø7/iii - V7/iii, the
V7/ii, the vii°7/iii, and the iii7 - V7/ii - ii7 - V7 leading back to the tonic chord.

Progression no. 32 chords from sheet music

Am ’ ’ ’ Em ’ ’ ’ D7 ’ ’ ’ G7 ’ ’ ’ C

F#ø7 D#°7 ’
5

Am Am/G B7 Em7 ’ A7 ’ D7 ’ 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 from
old published versions. Many performers considered the diminished seventh chord to be old fashioned
compared with the “new and improved bebop ii7 - V7” progression. In progression no. 33, neither the
G#°7 nor the Bm7 - E7 point to the Gm7. The Bm7 - E7 functions the same a G#°7, pointing to the key of
A or A minor. This G#°7, the vii°7/iii, is often found resolving to a ii7 chord. The Bbmaj7 keeps the bass
moving 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 the
same root and third, but have different qualities because of the difference between the perfect fifth of
the Abm7 and the diminished fifth of the G#°7. The Abm7 - Db7 does not point the same place as the
G #°7, but creates a chromatic side-slipping passage from the Am7 to Abm7 and finally the Gm7. The
chords slip down by half step, but the Abm7 and Db7 chords are from the key of Gb, a half step above F.

Jazz Theory Resources

 Chapter 8 Harmonic Substitutions & Turnarounds 159

Progression no. 34
B bmaj7 ‘ B bm7 E b7 Fmaj7 ‘ G#°7 ‘ Gm7

B bmaj7 ‘ B bm7 E b7 Am7 ‘ A bm7 D b7 Gm7

A diminished seventh chord and a iiø7 - V7 point to a minor key and can be used interchangeably. In
an 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 pitches
point to the same minor key. This common passage may be thought of in either of the two ways shown
or 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 G
major 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 the
ambiguous A diminished, the iiø7/iii - V7/iii chords are commonly used in the fourth measure and
point to a Dm7 (iii7) chord in m.5.

Progression no. 35
Bb ’ ’ ’ ‘ Cm7 ’ G7 ’ A dim. ’ ’ ’
Bbmaj7 ’ Ebmaj7 ’ Cm/Bb
1

Dm7 ’ G7 ’ Cm7 ’ ’ Eø7/A ’ A7 ’

In order to keep the progression moving and sustain the dissonance, the I chord is often avoided in the
middle 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 and
substitutions, then when the music finally returns to tonic it will be all the more potent. It retains more
of its strength from not being overused. Imagine a trip around the block: how much would you miss
home if gone only a few minutes? Weeks on the road will make someone long for home again. You must
depart in order to return. If the I chord is heard in the first measure, again in the fifth, and again at the
repeat 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 of
the iii7 (or a I chord in inversion) saves the return to tonic for the next phrase. The D7 is a secondary
dominant which points to the vi7 chord. The Db9 chord is a tritone substitute to for the V7/ii (G7) and
points 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 of
strengthening 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 to
major sound brighter than it would have coming from the diatonic ii7 - V7 chords Cm7 - F7.

Progression no. 35
Bb ’ ’ ’ Gm7 ’ ’ ’ Cm7 ’ ’ ’ F7 ’ ’ ’
Db9 Cø7/Gb
5

Dm7 ’ D7 ’ Gm7 ’ ’ Cm7 ’ ’ ’ ’ F7 ’

Jazz Theory Resources

160 Chapter 8 Harmonic Substitutions & Turnarounds

Many passages lend themselves to multiple reharmonizations. Four versions are shown below for
mm.13-16 of progression no. 35. This is the end of the B section that leads back to the A section and the
tonic Bb chord. The top line is from an old lead sheet version; the other three are from published or
performance 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, the
vii°7/iii, setting up the last two measure turnaround iii7 - V7/ii - ii7 - V7. The C7 and the C#°7 share the
same third, fifth and seventh so only the bass note changes. The C7 points to the key of F (1b) and then
the 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 of
fifth root progression with iiø7 - V7 of iii, iii - V7/ii and then the ii7 - V7 leading back to the I chord. In
the second measure, the Dm7 (iii) is tonicized sooner by the Eø7 and A7 than it was in the third line.

Progression no. 35
Gm ’ ’ ’ 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 I
chord in progression 36 below lasts four measures and then the vi7 chord appears suddenly without
preparation. While there is nothing wrong with this, at slow and medium tempos the lack of motion can
impair the momentum of the piece (and may be interpreted by some to be a bad musical joke at the
expense of a beautiful composition). A few moving chords can create motion to keep the progression
alive. 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 with
so far have had chords only in root position. The bass lines have been considered with emphasis on the
typical 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

Jazz Theory Resources

 Chapter 8 Harmonic Substitutions & Turnarounds 161

version on the top line of progression no. 6 serves the melody and is itself interesting enough. The
lower 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, the
dominant of Bb in m.9. The F bass note easily moves down a step to the Eø7. The A7 chord interrupts
the step line briefly but resolves to Dm7, the next note in the descending line. The Dm7 moves to
Dbmaj7, to keep the bass line moving down in steps. The Dbmaj7 is related to the Bbm7 chord (and may
be 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, creating
two 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 imagine
all of his inventive substitutions and the soloist cannot assume the piano player will know or hear what
unusual substitutions he has practiced. Many basic substitutions will cause little conflict, and if so, only
for short episodes. For example, there is no real difference between a V7/ii and a vii°7/ii. If there are to
be major departures from the normal progressions, then some consultation should occur before the
performance. 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 the
rhythm section. These work as linear substitutions. The chords and lines are working on different levels
to point to a particular place. Things may not always agree vertically between the improvised line and
the 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. The
Am7 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 whether
chord 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

Jazz Theory Resources

162 Chapter 8 Harmonic Substitutions & Turnarounds

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

F Gm7 G #°7 F
œ
& b œ œ œ œ œ œ œ œ œ œ œ œ #œ nœ œ œ œ

& b ww ˙˙ # n ˙˙ 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?

Bb Gm7 Cm 7 F7 Bb 3
b
&b c œ œ #œ œ œ œ œ œ
œ œ œ œ œ #œ nœ œ œ œ œ œ œ œ œ

Adding more harmonic movement can add life to static passages. The relation of the bass note to the
melody 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 not
tell the whole story. The diatonic ii7, iii7, and IV chords have been added in the first two measures. In
the last beat of m.2 the vii°7/v prepares for the change to Bbm7, which as ii7/IV signals the change to
the key of IV. Preceding the Eb 7 and the Ab maj7 chords are tritone substitutions dominants. These
chords alone satisfactorily ornament the original simple progression. The chromatic inner voice in the
first two measures changes the focus from plodding chords to dramatic linear motion.

E bmaj7 Fm7 Gm7 A bmaj7 A°7 B bm9 E13 E b13 A13 A bmaj7

& bbb ˙˙ ˙˙ ˙˙ œœ b œœ ˙ # #n ˙˙˙ n bn ˙˙˙ # #n ˙˙˙ n bn www

œ b ˙˙
? b œ˙ œ œœ bn œœ œ˙ œ #n ˙˙ n ˙˙ ˙ w
b b œ˙ n œ œ˙ # œ n˙ bw

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 faster
tempos. Do not assume that slow passages must have added harmony to be interesting. Even very slow
ballads can benefit from the simplification of harmonic motion.

Jazz Theory Resources

 Chapter 8 Harmonic Substitutions & Turnarounds 163

After a passage with half-note harmonic rhythm, it might be effective to slow the motion down rather
than 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 dominant
pitch holding in the bass creates a restlessness after the moving passages, and when the bass releases the
pedal, 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.

E bmaj7 C7 Fm7 B b7 Ebmaj7 Db7 Cm7 Gb7 F7 C b 7 Bb 7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
E bmaj7 A b7 D bmaj7 Gø7 C7 F7 C b7 Fm7/B b B b7
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
After the active A section, the B section continues with more half note harmonic rhythm using the I - vi7
- ii7 - V7 progression below.

E bmaj7 Cm7 Fm7 B b7

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

E bmaj7/B b Fm7/B b
’ ’ ’ ’ ’ ’ ’ ’
Pedals can be effective at any tempo. They can save a long performance of an up tempo piece by giving
the listener (and the bass player) a reprieve from the constant four beat swing feel. After a few choruses
of the following progression, dominant pedals through the B section might be welcome.

Progression no. 23.

Fm7 B bm7 ‘ E b7 A bmaj7 D bmaj7 Dø7 - G7 Cmaj7
’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’

Cm7 Fm7 ‘ B b7 E bmaj7 A bmaj7 Aø7 - D7 Gmaj7

’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’
(D pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ) (B pedal . . . . . . . . . . . . . . . . . . . . . . . . . )
Am7/D ‘ F#ø7/B
D7 B7 Emaj7/B C7Gmaj7/D
’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’
Pedal released: motion returns
Fm7 B bm7 E b7 A bmaj7 D bmaj7 Gb7 A b/ C B°7
’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’

B bm7 E b7 A bmaj7 (Gø7 - C7)

’’’’ ’’’’ ’’’’ ’’’’

Jazz Theory Resources

164 Chapter 8 Harmonic Substitutions & Turnarounds

The backdoor dominant chord is a variation of a plagal IV - iv - I resolution. In the second phrase of
progression 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 iii7
chord, 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 major
chord 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. The
use of the bIII chord creates a situation where the Eb7 to Abmaj7 is a surprise deceptive cadence! The
A bmaj7 chord is not far removed from the parallel key of F minor, and in this case, the melody note C
fits 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 ’

b
(A maj7’ ’ ’)
Two progressions are played more often than any others in jazz performances: the twelve measure blues
and “Rhythm Changes.” The forms for these two tunes allow for much freedom of expression with
tempo 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 and
minor 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 for
Rhythm Changes in Bb major with common substitutions. These progressions should be transposed and
studied 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 or
country version of the basic blues would have a V chord in m.9 followed by a IV chord in m.10. In most
jazz performances, the ii7 - V7 progression is used. The barest jazz version of the blues progression is
shown 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. The
tonic chord will not necessarily be a part of that turnaround as iii7 and other chords may
substitute for I.

Jazz Theory Resources

 Chapter 8 Harmonic Substitutions & Turnarounds 165

BARE MINIMUM JAZZ BLUES

F ’ ’ ’ ‘ ‘ F7 ’ ’ ’
Bb7
1

’ ’ ’ ‘ 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.4
setting up the chord in m.5. A G#°7 in first inversion moves the bass note from Bb to Bn and then to the
C with the F chord in inversion in m.7. The diminished chord in m.6 is often labeled a B°7. In m.8, a
secondary dominant chord D7 (V7/ii) prepares the coming ii7 chord. The most common turnaround
occurs 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 ’ ’ ’
Bb7 G#°7/B
1

’ ’ ’ ’ ’ ’ 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 ’ B b7
1 5

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

F7 ’ ’ ’ Gm7 ’ C7 ’ F7 ’ ’ ’ Cm7 ’ F7 ’ B b7
1 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 ’ B b7

1 5

Here is a progression that Charlie Parker suggested in a example shown earlier. The Gm7 - G#°7 - Am7
elaborates the tonic F area.

F7 ’ ’ ’ Gm7 ’ G#°7 ’ Am7 ’ ’ ’ Cm7 ’ F7 ’ B b7

1 5

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

Jazz Theory Resources

166 Chapter 8 Harmonic Substitutions & Turnarounds

V7/vi, Eø7 - A7 in m.2. The strong bass line of descending fifths begins the progression with the I - IV in
m.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 ’ B b7

1 5

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

F#7 ’ B7 ’ E7 ’ A7 ’ D7 ’ G7 ’ C7 ’ F7 ’ B b7
1 5

Measures 5-8

This common version of the second phrase suggests an ascending bass line: Bb - Bn - C - D then resolves
down 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 is
closely 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 or
other colorations, but vii°7/iii is the path of least resistance.)

Bb7 ’ ’ ’ G#°7/B ’ ’ ’ F7/C ’ ’ ’ D7 ’ ’ ’ Gm7

5 9

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

Bb7 ’ ’ ’ G#°7/B ’ ’ ’ F7/C ’ ’ ’ Aø7 ’ D7 ’ Gm7

5 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 Aø7
from an F9 chord as they share four pitches, and if the bass player chooses to play the F chord in first
inversion, it will sound like an Aø7.

Bb7 ’ ’ ’ ‘ Aø7 ’ ’ ’ D7 ’ ’ ’ Gm7

5 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 as
shown 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 ’ ’ ’ Gm7

5 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 ’ Gm7

5 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 in
place of the Eb7. This cycle is similar to the cycle that began on F#7 shown for the first four measures.

Jazz Theory Resources

 Chapter 8 Harmonic Substitutions & Turnarounds 167

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

Bb7 ’ ’ ’ ‘ F7 ’ E7 ’ Eb7 ’ D7 ’ Gm7

5 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 of
four 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 the
F9 chord and is indistinguishable from an F7 chord in first inversion.

Aø7 ’ D7 ’ Gm7 ’ C7 ’ F
11 1

Jazz Theory Resources

168 Chapter 8 Harmonic Substitutions & Turnarounds

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 in
the 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 bass
line 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 F7
chords are preceded by chromatic upper neighbor tones, which suggest the tritone substitutions as
shown.

& b ˙˙ .. n œœ b ˙˙ .. b œœ # ˙˙ # n ˙˙ n n ˙˙ b ˙˙
b œœ
Gm7 D b7 C7 b b
A7 E 7 D7 A 7 b
G7 D 7 C7 G 7 b F7

?b
œ œ œ bœ œ œ œ œ œ bœ œ bœ œ bœ œ bœ œ
9 10 11 12 13

“WEST COAST” or “PRETTY” BLUES

The blues progression below is sometimes called the “pretty” or “West Coast” blues. This progression
may occur for the whole form if agreed upon ahead of time. It can sometimes be used as the last chorus
or two of a longer solo ending with a more elaborate chord progression. The I chord moves down a
fifth 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 played
without too much alteration from the common blues progression.

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

Bb Bbm7 Eb7 Abm7 Db7
1

’ ’ ’ ’ ’ Am7 ’ D7 ’ ’ ’
5

Gm7 ’ ’ ’ C7 ’ ’ ’ F7 ’ D7 ’ Gm7 ’ C7 ’
9

Jazz Theory Resources

 Chapter 8 Harmonic Substitutions & Turnarounds 169

HARMONIC SUBSTITUTIONS for BLUES in F Minor

There are a number of harmonic variations for minor blues. Minor blues share similar characteristics
with major blues including the chord in m.5 being built on the fourth degree and dominant area in
mm.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 ’
Bbm7
1

’ ’ ’ ‘ 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 in
m.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. The
V7 sets up the return of the Fm chord in m.11. The turnaround includes the tritone substitute dominants
Ab7 and Db7.

Fm ’ ’ ’ Gø7 ’ C7 ’ Fm ’ ’ ’ (Cø7) ’ F7 ’
Bbm7 Bbm7 Gb7
1

’ ’ ’ ’ ’ Fm ’ ’ ’ ‘
Db9
5

’ ’ ’ C7 ’ ’ ’ Fm ’ Ab9 ’ Db9 ’ C7 ’
9

This minor blues progression remains on the tonic pitch for the first few measures and suggests an inner
chromatic voice: C – Db – D – Eb. The chord in m.2 sounds like a VI chord in first inversion, but is often
notated as Fm#5. Obviously, a minor chord by definition has a perfect and not an augmented fifth, but
the 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 to
cycle in the key of Ab, through the V7/bIII - I/bIII - IV/bIII. The Gø7, even though shared by the two keys of
F minor and Ab major signals the return to F minor.

Fm ’ ’ ’ Db/F ’ ’ ’ Fm6 ’ ’ ’ F7 ’ ’ ’
(Dø7/F)
Bbm7 Eb7 Abmaj7 ’ Dbmaj7
1

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
5

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

9

Jazz Theory Resources

170 Chapter 8 Harmonic Substitutions & Turnarounds

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 in
the short twelve measure form. Some may argue this is not a blues progression, but it is a twelve measure
form that moves to a chord built on the fourth degree in m.5. In performances of this piece, improvisers
use only this progression, never inserting traditional blues progressions.

Cmmaj7 ’ ’ ’ ‘ Gm7 ’ ’ ’ C7 ’ ’ ’
Bb7
1

Fmaj7 ’ ’ ’ ‘ Fm7 ’ ’ ’ ’ ’ ’
Ebmaj7 Ebm7 Ab7 Dbmaj7
5

’ ’ ’ ’ ’ ’ ’ ’ Dø7 ’ G7 ’
9

The first five measures of the following blues progression behave as a typical blues, establishing the
tonic key area first and then moving towards the iv7 chord in m.5. Things change quickly from m.6. The
Abm7 - Bb7 - Cbmaj7 are the iv7 - V7 - and VImaj7 chords from the remote key of Ebm. The Bbm7 and A7
act as a ii7 and tritone substitute V7 to the key of Ab, but the Ab chord is a suspended dominant in the
key of Db. Order seems restored with the Fø7 - Bb7, the iiø7 - V7 to Eb minor, but wait, isn’t this blues is in
C minor? The last measure brings it back around to the top and the tonic key with the V7/V - V7. In a
performance of the piece from which this progression was extracted, the improvisers use these changes
for the melody and only the last few choruses of each improvisation. Other improvised choruses use
one of the standard minor blues progressions.

Cm7 ’ ’ ’ D7 ’ G7 ’ Cm7 ’ ’ ’ C7 ’ ’ ’
Abm7 Bb7 Cbmaj7 Bbm7
1

Fm9 ’ ’ ’ ’ ’ ’ ’ ’ ’ A7 ’
Absus7 Bb7 Ebm7
5

’ ’ ’ Fø7 ’ ’ ’ ’ ’ D7 ’ G7 ’
9

HARMONIC SUBSTITUTIONS for RHYTHM CHANGES

The form for Rhythm changes is AABA. There are numerous possibilities for harmonic variations. A few
of 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 the
secondary 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

Jazz Theory Resources

 Chapter 8 Harmonic Substitutions & Turnarounds 171

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 B b/ 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. It
avoids 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 chord
happens quickly and may sound like a brief allusion to B major as C# m7 is the ii7 of B. Even if the
rhythm section plays the G7 the dissonant notes will resolve themselves in a linear fashion. The C#m7
pitches, C#, E, G# and B may sound like the #11, 13, b9 and major third of the G7 chord whose place it
takes.

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 A7
is 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°7
chords 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 points
back 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 D b7 C7 C b7 Bb G7 Gb7 F7 Bb
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
1 5

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

Jazz Theory Resources

172 Chapter 8 Harmonic Substitutions & Turnarounds

Bb D b7 Gb7 C b7 B b7 A b7 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 major
thirds. From the home key of Bb, the progression modulates to Gb and D.

Bb D b7 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 a
C #°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 B b7/D Eb C #°7/E B b/F G7 Cm7 F7 Bb

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
5 9

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

Bb B b7/A b Eb/G Ebm/G b B b/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 B b7 Eb A b7 B b/ D G7 Cm7 F7 Bb
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
5 9

Jazz Theory Resources

 Chapter 8 Harmonic Substitutions & Turnarounds 173

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:

B b7 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 tonic
chord 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:

B b/ 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 D b7 C7 C b7 Bb
’ ’ ’ ’ ’ ’ ’ ’ ’
7 9

Jazz Theory Resources

174 Chapter 8 Harmonic Substitutions & Turnarounds

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 B
section.

F7 Bb D7
’ ’ ’ ’ ’ ’ ’ ’ ’
15 17

B b/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 most
basic turnaround progression is Bb - Gm7 - Cm7 - F7. With the iii7 chord in place of the Bb chord it
would 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. The
G7 would be assumed to be the V7/ii pointing to the Cm7 chord. It is possible to mix modes making the
D7 the V7 of G (V7/VI) and the G7 the V7 of C (V7/II.). An improviser may choose any number of
combinations 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 substitute
dominant Cb7 creating a descending chromatic line in the bass in the example below.

D7 ‘ D b7 ‘ C7 ‘ C b7 ‘
’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’
17

Jazz Theory Resources

 Chapter 8 Harmonic Substitutions & Turnarounds 175

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

A b7 ‘ G7 ‘ Gb7 ‘ F7 ‘
’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’
17

The cycle of dominants with tritone substitutions from the above example can be preceded by ii7
chords. This creates a descending chromatic progression in three keys (bIII, II, and bII) leading back to
the tonic key of I, Bb.

Ebm7 A b7 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 a
tritone substitute dominant pointing back to the tonic key of Bb.

Am7 D7 A bm7 D b7 Gm7 C7 F#m7 B7

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

This is a less common, but possible B section progression that utilizes a series of descending chromatic
ii7 - V7 progressions. It begins in A, and goes through Ab, Gb, F, and E major. Again the B7 chord in m.24
acts as a tritone substitute dominant pointing back to the tonic key of Bb. The harmonic progression is
rhythmically 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 the
progression in the B section can become.

Bm7 E7 B bm7 E b7 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/IV
and moves to the IV, the V7/V and V7 chord before returning to the tonic chord at the beginning of the
last A section.

B b7 ‘ Eb ‘ C7 ‘ F7 ‘
’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’
17

Jazz Theory Resources

176 Chapter 8 Harmonic Substitutions & Turnarounds

COMPLETE RHYTHM CHANGES PROGRESSION

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

Bb G7 Cm7 F7 Dm7 G7 Cm7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
1

Bb B b7/D Eb A b7 Dm7 D b7 Cm7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
5

Bb B°7 Cm7 C#°7 Dm7 G7 Cm7 F7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
9

Fm7 B b7 Eb C #°7/E B b/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 B b/F F7 Bb

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
29

Jazz Theory Resources

 Chapter 8 Harmonic Substitutions & Turnarounds 177

STANDARD TUNE APPLICATION

Here is a very simple progression from a tune performed by everyone from Bobby Darrin to Sonny
Rollins. The basic diatonic chords are I, ii7, V7, and vi7 as shown below. Fill in the blanks using typical
harmonic 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 ________* B b ________ ________ ________

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
5

Gm7 ________‡ Cm7 ________ ________

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
9

Cm7 ________* F7 ________* Bb ________ ________ ________

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
17

Jazz Theory Resources

178 Chapter 8 Harmonic Substitutions & Turnarounds

Progression no. 39 with harmonic additions.

B bmaj7 E bmaj7 Dø7 G7 Cm7 Dø7 G7
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
1 IV iiø7/ii V7/ii iiø7/ii V7/ii
Cm7 G b 9* F7 C b 9* Bb E bmaj7 Aø7 D7
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
5 IV iiø7/vi V7/vi
Gm7 C#°7‡ Cm7 Dø7 G7
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
9 iiø7/ii V7/ii
Cm7 G b 9* F7 C b 9* 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 the
same 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 same

recording of a tune? Does the same improviser approach similar sections with the
same harmonic progressions? Do all the improvisers approach the music using the
same harmonic progressions?

• Examine melodic transcriptions and compare the relationship of the melodies to

the underlying harmony. Was the improviser adhering to all the harmonic implica-
tions? Were sections being generalized? Were certain chords ignored? Were other
harmonic substitutions suggested by the lines?

Jazz Theory Resources