Chord Subs

SUBSTITUTE CHORDS Progressions may be created by freely choosing a chord from each column (exceptions: Em7 usually follows G7, and Am7 usually does not follow Db7). Name of sub. Diatonic (3rd up)

Original chords Dm7

G7

CM7

FM7

Bø7

Em7

Deceptive cadence

Am7

Tritone sub

Db7

Secondary dominant

D7

Key change (M to m)

Dø7

Diatonic & key change

Fm7

Im7 or Im(M7) Bo7 INSERTED CHORDS

Progressions are not created by freely choosing a chord from each column: substitute progressions are merely listed for each original chord. Chords in parentheses are typical chords that follow the substitutes. Name of sub.

Original chords Dm7

V after m7

Dm7

G7

CM7

G7

II before dom. 7

Dm7 G7

V before M7

G7

II V before M7

Dm7 G7 CM7

Secondary dominant

Dm7

D7

(G7)

Diatonic & mode change

Dm7

Fm7

(G7)

Parallel diatonic

Dm7 Em7 FM7

Parallel chromatic

CM7

(G7) Ab7 G7

DbM7 CM7

F#7 G7

BM7

CM7

Authentic cadence

CM7 G7

Plagal cadence

CM7 FM7 CM7

Blue note embellishments Basie ending*

© 2001 by Paul Rinzler

CM7

D#o7 CM7 Dm7 D#o7 CM7

EXAMPLES USING TUNES FROM THE REAL BOOK Tune

Bars

Original New

The Song Is You

5-6

CM7

Em | Dm7

G7 |

CM7

Em | FM7

G7 |

Fm7

Bb7

|EbM7 Eo7 | Fm7

Fm7

Bb7

| Cm7 Eo7

Fm7

| Bb7 |Eb7

Fm7

| E7

Substitution Diatonic Deceptive cadence

Isn't It Romantic?

Tritone sub

Ornithology

2-3 7-9

Secondary dominant

There Will Never Be Another You

7-8

Key change (M to m)

The Days of Wine and Roses

13-16

Diatonic & key change

Misty

7-8

| Fm7

|Eb7

Cm7 |

| Bbm7

| Eb7

Cm7 |

| Bb7

| Eb7

Eø7 A7 | Dm7 G7 | Gm7 | C7 Eø7 A7 | Dm7 G7 | Gø7 Gm7 C7 | Fm7

| C7

Bb7

Gm7 C7 | Abm7 Bb7

Insertion V after m7 II before dom. 7 V before M7

A Foggy Day All of Me All of Me

11-13 1-4 25-28

Bb6

| Bbm6

|FM7

Bb6

|Bbm6 Eb7 | FM7

CM7

|

| E7

|

CM7

|

| E7

| Bm7 E7 |

FM7 | Fm7

|

| CM7

FM7 | Fm7 G7 | CM7 II V before M7

All of Me

21-25

Secondary dominant

Beautiful Love

Diatonic & key change

Someday My Prince Will Come

9-12

Parallel diatonic

Days of Wine and Roses

11-12

© 2001 by Paul Rinzler

9-10

A7 |

| Dm7 |

A7 |

| Dm7 | Gm7 C7 | FM7

Dm7

| FM7

| G7

Dm7 D7 | G7 Dm7

| C#o7 |Cm7

Dm7

| C#o7 | Cm7 Ebm7 | F7

Gm7

| C7

Gm7

Am7 BbM7 | C7

| F7

Parallel chromatic

Blue Bossa

7-9

Authentic cadence

'Round Midnight

Plagal cadence

God Bless the Child

31-2

Cm7

|

| Ebm7

Cm7

| C#m7 Dm7 | Ebm7

Cb7 Bb7 | Ebm7

| Ebm7

Cb7 Bb7 | Ebm7 Bb7 | Ebm7 7-8

EbM7

|

EbM7 AbM7 | EbM7

Blue note embellishments

Don't Get Around 7-8 Much Anymore

CM7

Basie ending*

Don't Get Around 7-8 Much Anymore

CM7

| G7

CM7

Dm7 F#o7 | G7

D m7 * Basie ending

© 2001 by Paul Rinzler

D o7

CM6

CM7

| G7 F#o7

| G7