Chord Subs
3
© 2001 by Paul Rinzler 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. Original chords Dm7 G7 CM7 Diatonic (3rd up) FM7 Bø7 Em7 Deceptive cadence Am7 Tritone sub Db7 Secondary dominant D7 Key change (M to m) Dø7 Im7 or Im(M7) Diatonic & key change 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. Original chords Dm7 G7 CM7 V after m7 Dm7 G7 II before dom. 7 Dm7 G7 V before M7 G7 CM7 II V before M7 Dm7 G7 CM7 Secondary dominant Dm7 D7 (G7) Diatonic & mode change Dm7 Fm7 (G7) Parallel diatonic Dm7 Em7 FM7 (G7) Parallel chromatic Ab7 G7 F#7 G7 DbM7 CM7 BM7 CM7 Authentic cadence CM7 G7 CM7 Plagal cadence CM7 FM7 CM7 Blue note embellishments D#o7 CM7 Basie ending* Dm7 D#o7 CM7
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Transcript of Chord Subs
© 2001 by Paul Rinzler
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. Original chords
Dm7 G7 CM7
Diatonic (3rd up) FM7 Bø7 Em7
Deceptive cadence Am7
Tritone sub Db7
Secondary dominant D7
Key change (M to m) Dø7 Im7 or Im(M7)
Diatonic & key change Fm7 Bo7
INSERTED CHORDS
Progressions are not created by freely choosing a chord from each column: substituteprogressions are merely listed for each original chord. Chords in parentheses aretypical chords that follow the substitutes.
Name of sub. Original chords
Dm7 G7 CM7
V after m7 Dm7 G7
II before dom. 7 Dm7 G7
V before M7 G7 CM7
II V before M7 Dm7 G7 CM7
Secondary dominant Dm7 D7 (G7)
Diatonic & mode change Dm7 Fm7 (G7)
Parallel diatonic Dm7 Em7 FM7 (G7)
Parallel chromatic Ab7 G7
F#7 G7
DbM7 CM7
BM7 CM7
Authentic cadence CM7 G7 CM7
Plagal cadence CM7 FM7 CM7
Blue note embellishments D#o7 CM7
Basie ending* Dm7 D#o7 CM7
© 2001 by Paul Rinzler
EXAMPLES USING TUNES FROM THE REAL BOOK
Tune Bars OriginalNew
Substitution
Diatonic The Song Is You 5-6 CM7 Em | Dm7 G7 |
CM7 Em | FM7 G7 |
Deceptivecadence
Isn't It Romantic? 2-3 Fm7 Bb7 |EbM7 Eo7 | Fm7
Fm7 Bb7 | Cm7 Eo7 | Fm7
Tritone sub Ornithology 7-9 Fm7 | Bb7 |Eb7
Fm7 | E7 |Eb7
Secondarydominant
There Will NeverBe Another You
7-8 Cm7 | | Bbm7 | Eb7
Cm7 | | Bb7 | Eb7
Key change(M to m)
The Days of Wineand Roses
13-16 Eø7 A7 | Dm7 G7 | Gm7 | C7
Eø7 A7 | Dm7 G7 | Gø7 | C7
Diatonic & keychange
Misty 7-8 Gm7 C7 | Fm7 Bb7
Gm7 C7 | Abm7 Bb7
Insertion
V after m7 A Foggy Day 11-13 Bb6 | Bbm6 |FM7
Bb6 |Bbm6 Eb7 | FM7
II before dom. 7 All of Me 1-4 CM7 | | E7 | |
CM7 | | E7 | Bm7 E7 |
V before M7 All of Me 25-28 FM7 | Fm7 | CM7
FM7 | Fm7 G7 | CM7
II V before M7 All of Me 21-25 A7 | | Dm7 | | FM7
A7 | | Dm7 | Gm7 C7 | FM7
Secondarydominant
Beautiful Love 9-10 Dm7 | G7
Dm7 D7 | G7
Diatonic & keychange
Someday MyPrince Will Come
9-12 Dm7 | C#o7 |Cm7 | F7
Dm7 | C#o7 | Cm7 Ebm7 | F7
Parallel diatonic Days of Wine andRoses
11-12 Gm7 | C7
Gm7 Am7 BbM7 | C7
© 2001 by Paul Rinzler
Parallelchromatic
Blue Bossa 7-9 Cm7 | | Ebm7
Cm7 | C#m7 Dm7 | Ebm7
Authenticcadence
'Round Midnight 31-2 Cb7 Bb7 | Ebm7 | Ebm7
Cb7 Bb7 | Ebm7 Bb7 | Ebm7
Plagal cadence God Bless theChild
7-8 EbM7 |
EbM7 AbM7 | EbM7
Blue noteembellishments
Don't Get AroundMuch Anymore
7-8 CM7 | G7
CM7 F#o7 | G7
Basie ending* Don't Get AroundMuch Anymore
7-8 CM7 | G7
CM7 Dm7 F#o7 | G7
Basie ending
7mD 7oD 6MC
*
