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Jazz Guitar Corner: Five Must-Know ii V I Chord SubsPosted 02/2/20! at ":0a# $ b%Matt Warnock

&s 'eo'(e who stud% )azz *uitar +now, (earnin* how to '(a% various hord substitutions is an i#'ortant 'art o. understandin* and

a''(%in* the )azz (an*ua*e to %our o#'in* and so(oin* ideas

In order to (earn how to brin* so#e o##on subs into %our '(a%in* this wee+, in toda%s (esson we(( be e1'(orin* .ive i#'ortantand o.ten-used ii V I hord subs that o#e .ro# various .a#ous tunes, and the '(a%in* o. #an% *reat )azz *uitarists over the%ears

% (earnin* how to '(a% and a''(% these subs to %our hord wor+ and sin*(e-note so(o, %ou wi(( not on(% be addin* an e1tra (a%ero. har#oni so'histiation to %our '(a%in*, but %ou3(( be brin*in* a nie 4inside-outside5 touh to %our (ines and hords, ani#'ortant in*redient in ever% *reat )azz *uitarist3s re'ertoire

ii#6 V6 I#a)6 Pro*ression

e.ore we di* into the .ive i#'ortant hord subs (isted be(ow, here3s a 7ui+ review o. the ii V I hord 'ro*ression .or those whoare new to the sub)et 8hereas in ro+ and b(ues, the I IV V hords #a+e u' the #ost o##on(% used 'ro*ression in those*enres, in )azz we re'(ae the IV with the ii#6 hord

9he ii#6-V6-I#a)6 'ro*ression an be .ound in ount(ess tunes and is essentia( (earnin* .or an%one e1'(orin* the )azz *uitaridio#

ere3s an e1a#'(e o. a ii#6 V6 I#a)6 hord 'ro*ression written out in the +e% o. C #a)or Start b% (earnin* these sha'es in C,then ta+e the# to other +e%s and other sha'es around the ne+ as %ou e1'(ore this o##on 'ro*ression .urther in the 'ratieroo#

ii#6 bII6 I#a)6 Pro*ression

Probab(% the #ost o##on(% used sub in )azz, the 9ritone sub, an be seen in bar two o. the .o((owin* 'ro*ression ere, we arere'(ain* G6 with a 6th hord .ound a tritone awa% .ro# that root, ;b6 9his bui(ds a ii#6-bII6-I#a)6 'ro*ression, with the ;#6#ovin* down b% ha(.-ste' to ;b6, whih then a(so #oves down b% ha(.-ste' to C#a)6

Sine this sub is so o##on, i. %ou (earn one 'ro*ression .ro# this (esson, then this is it Pratie '(a%in* these three hordsusin* di..erent sha'es around the ne+, and then ta+e it to other +e%s as we(( ;b6? to .or# a sub ii V in the .irst two bars o. the 'ro*ression that is then reso(ved into theI#a)6 hord in bar ! 9he new ii V, &b#6-;b6, o#es .ro# the tritone sub o. G6 that we #entioned ear(ier 9o +ee' thin*s re(atedto C, I have written it out as bv#6 bII6, whih he('s to see how these hords re(ate the the 'arent +e% o. C

Sine the ii and V are so (ose(% re(ated in )azz, %ou an a(#ost a(wa%s add a ii#6 to a V6, or a V6 to a ii#6, i. %ou on(% have oneor the other in %our 'ro*ression 9his is the reasonin* behind addin* the &b#6 be.ore the ;b6, bui(din* a ii#6 V6 'ro*ression, inthis *rou' o. subs

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ii#6 V6 bvi#6 bII6 I#a)6 Pro*ression

ere, we are *oin* to ta+e both ii Vs that weve e1'(ored so .ar, ii V and bvi#6 bII6, and '(a% the# ba+ to ba+ to .or# a (on*erhord substitution @ssentia((%, %ou are '(a%in* the ori*ina( hords in bar , ;#6-G6, and then '(a%in* the ii V sub .ro# the'revious e1a#'(e in bar 2, be.ore reso(vin* to the I#a)6 in bar !

% o#binin* the ori*ina( hords with a ii V sub, %ou are addin* #ore hords to the 'ro*ression whi(e sti+in* (ose(% to theori*ina( han*es and one set o. subs, as o''osed to runnin* a series o. subs suh as ba+ %(in* or the Co(trane Matri1

@1'(ore these han*es in the 'ratie roo# Co#' the# over a bass (ine, so(o with the# usin* ar'e**ios, sa(es or (i+s, andbrin* the# to tunes %ou are wor+in* on in order to *et the #ost out o. these han*es in the woodshed

biii#6 bVI6 ii#6 V6 I#a)6 Pro*ression

9he ne1t sub we wi(( e1'(ore is si#i(ar to what we .ind in John Co(trane3s AStab(e#ates5 ere, %ou are '(a%in* a ii-V one ha(.-ste'hi*her than the ori*ina( +e%, in bar , be.ore returnin* to to the nor#a( ii V I in the seond and third bars o. the 'ro*ression Inessene, %ou are '(a%in* a ii V, then #ovin* it down one ha(.-ste' >one .ret? to return to the ori*ina( +e%, and then reso(vin* that tothe I#a)6 hord to end the 'hrase

In order to *et a better understandin* o. this substitution, he+ out the tune 4Stab(e#ates,5 and )a# a(on* to it in the 'ratieroo# in order to hear how these hords sound in a #usia( onte1t

bii#6 bV6 ii#6 V6 I#a)6 Pro*ression

9he (ast sub, we(( (oo+ at o#es .ro# the John Co(trane tune 4Mo#ents =otie5 ere, %ou are '(a%in* two ii-Vs in a row, as wehave seen be.ore, but this ti#e the .irst ii V is '(a%ed a ha(.-ste' be.ore the ori*ina( +e%

In e..et, %ou are '(a%in* a ii-V, then re'eatin* it one ha(.-ste' > .ret? hi*her on the ne+ 9his brin*s a sense o. 4outside-inside5.(avor to %our o#'in* and so(oin* when a''(%in* these hords to a #usia( situation

Che+ the# out in this +e%, and others aross the ne+, and to hear the# in onte1t, (isten to and )a# a(on* with 4Mo#ents=otie5 in %our 'ratie routine

&s %ou an see, b% havin* )ust a hand.u( o. o##on subs to a''(% to %our ii V I hords and so(oin* ho's, %ou an brin* a (ot o.tension and re(ease to %our '(a%in* 9r% wor+in* on one o. these 'ro*ressions at a ti#e 8or+ out hord voiin*s that %ou (i+e,'ratie the ar'e**ios .or eah hord and the sa(es .or i#'rovisin*

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9hen, one %ou have wor+ed one out on its own in one +e%, brin* it to other +e%s around the ne+, as we(( as a''(% one or #oreo. these subs to tunes %ou +now or are wor+in* on in the 'ratie roo#