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) Deceptive cadence Tritone sub Secondary dominant Key change (M to m) Diatonic & key change D7 D7 Fm7 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. V after m7 II before dom. 7 V before M7 II V before M7 Secondary dominant Diatonic & mode change Parallel diatonic Parallel chromatic Authentic cadence Plagal cadence Blue note embellishments Basie ending* Dm7 Dm7 D7 Fm7 (G7) (G7) (G7) Ab7 G7 F#7 G7 DbM7 CM7 BM7 CM7 CM7 CM7 G7 Original chords Dm7 Dm7 G7 Dm7 G7 G7 CM7 Dm7 G7 CM7 G7 CM7 Im7 or Im(M7) Db7 Original chords Dm7 FM7 G7 B7 CM7 Em7 Am7

Dm7 Em7 FM7

CM7 FM7 CM7 D#o7 CM7 Dm7 D#o7 CM7

2001 by Paul Rinzler

EXAMPLES USING TUNES FROM THE REAL BOOK Tune Substitution Diatonic Deceptive cadence Tritone sub Secondary dominant Key change (M to m) Diatonic & key change Insertion V after m7 II before dom. 7 V before M7 II V before M7 Secondary dominant Diatonic & key change Parallel diatonic A Foggy Day All of Me All of Me All of Me Beautiful Love Someday My Prince Will Come Days of Wine and Roses 11-13 1-4 25-28 21-25 9-10 9-12 11-12 Bb6 Bb6 CM7 CM7 | Bbm6 | | |FM7 | E7 | E7 | CM7 | FM7 | | The Song Is You Isn't It Romantic? Ornithology There Will Never Be Another You The Days of Wine and Roses Misty 5-6 2-3 7-9 7-8 13-16 7-8 CM7 CM7 Fm7 Fm7 Fm7 Fm7 Em | Dm7 Em | FM7 Bb7 Bb7 | E7 G7 | G7 | | Fm7 Bars Original New

|EbM7 Eo7 | Fm7 | Cm7 Eo7 |Eb7 | Bbm7 | Bb7 | Eb7 | Eb7 | C7

| Bb7 |Eb7

Cm7 | Cm7 |

E7 A7 | Dm7 G7 | Gm7 | C7 E7 A7 | Dm7 G7 | G7 Gm7 C7 | Fm7 Bb7 Gm7 C7 | Abm7 Bb7

|Bbm6 Eb7 | FM7

| Bm7 E7 |

FM7 | Fm7 A7 | A7 | Dm7 Dm7 Dm7 Gm7 Gm7 | Dm7 | | G7

FM7 | Fm7 G7 | CM7 | Dm7 | Gm7 C7 | FM7

Dm7 D7 | G7 | C#o7 |Cm7 | C7 Am7 BbM7 | C7 | F7 | C#o7 | Cm7 Ebm7 | F7

2001 by Paul Rinzler

Parallel chromatic Authentic cadence Plagal cadence Blue note embellishments Basie ending*

Blue Bossa 'Round Midnight God Bless the Child

7-9 31-2 7-8

Cm7 Cm7

| Ebm7 | Ebm7

| C#m7 Dm7 | Ebm7

Cb7 Bb7 | Ebm7 EbM7 CM7 CM7 CM7 CM7 F#o7 |

Cb7 Bb7 | Ebm7 Bb7 | Ebm7 EbM7 AbM7 | EbM7 | G7 | G7 | G7 Dm7 F#o7 | G7

Don't Get Around 7-8 Much Anymore Don't Get Around 7-8 Much Anymore

D m7 * Basie ending

D o7

CM6

2001 by Paul Rinzler