Chord Substitutions

The Jazz Guitarist’s Survival Guide

We can reharmonize any chord progression in just about any style of music. Chord substitutions can be described as what I like to call “new harmonies with the same function.” However, this isn’t necessarily a black and white thing as you’ll see throughout this lesson.

Being able to take liberties with the harmony of a given tune is an important skill set for jazz guitarists to have in their arsenal.

The practice of employing these reharmonization techniques help to deepen the harmonic vocabulary and understanding of how chord progressions really work for any jazz musicians. At times, you will find that many choose to blur the lines with regard to harmonic function, so to speak.

This lesson addresses the substitution of harmony on a “chord-to-chord” basis and then moves onto more abstract concepts.

Part 1 – Chord by Chord Substitutions

By examining one specific chord inside a progression it is possible to find alternatives. The most common way to look at this is to find chords that share common notes.


First, Diatonic Chord Substitutions:

It is easy to find chords with common notes in the context of a key signature. Examine the seven chords in the “key of the moment”… and? If you pick any chord, two other chords in that same key will share three notes with the original! (always)

In the key of C: Cmaj7 can be substituted for Am7 or Em7.

Cmaj7 (C E G B) shares three notes with Am7 (A C E G)
(A is a third below C)


Cmaj7 (C E G B) shares three notes with Em7 (E G B D)
(E is a third above C)

And what do I mean exactly? (-;

Try this: In the context of a band, if you play Am7 while the bassist is playing C root, it sounds like C major 6th. (Neat huh!?) Again, in a band context, if you play Em7 while the bassist is playing C root, it sounds like C major 9th. (Even neater huh?!?!) How is that happening? The pictured example clearly demonstrates that the notes in Em are in fact the same as Cmaj without the root:

Chord Substitutions - jazz guitar

The notes in Em and Em7 function as (respectively) 3 5 7 and 3 5 7 9 in the C chord

Other chords in the key (or outside of the key for that matter) may offer interesting options for jazz guitar chord substitutions. They are yours to discover. Analyze, research, explore and make sure it sounds good to you!


Second, Dominant Chords Alternative : Diminished

Still looking at common notes, lets examine one chord type specifically : [vintage horror film tone] the terrifying “dominant 7 flat 9” chord!!! The dom7(b9) are spelled 1 3 5 b7 b9 and are used to resolve in V-I situations most of the time. For example : G7(b9) to C. The beauty of the dom7(b9) is it’s symmetrical characteristics (when we forget of the root.) A “B diminished 7th” chord resides inside the G7(b9)!

Chord Substitutions - jazz guitar


The dominant will get the symmetrical characteristics of it’s related diminished in heritage! That’s like the chord’s “genetic code”.

A little theory refresher: The diminished chord being a symmetrical structure, it is movable “as is” up and down in minor thirds… Meaning that B, D, F and Ab diminished are in fact the same exact chord! (They share the same four notes.)

chord substitution chart

What does it sound like to you? Do you foresee those four possible diminished for every dominant as chord substitutions? I say play B, D, F or Ab diminished when you see G7(b9) on the chart.

Or, more generically: Play a diminished on the 3rd, 5th, b7th or b9th of any dom7(b9) chord.

Part 2: On Chord Progressions

By examining a specific progression it is possible to find alternatives. The most common way to look at this is to find progressions that share the same destination.

Caution: nothing works all of the time! Make sure you keep the chord’s functionality when it’s needed in the context.


First, Interpolation and Back Cycling:

Jazz musicians play the II-V cadence most of the time when resolving to the I chord. Therefore, the V-I can become II-V-I. It is know as interpolation. In this example, I put the II “in front” of the V:

Chord Substitutions - jazz guitar

This principle works fine even if there’s no resolution to the I chord. Simply add the appropriate II chord in front of the V, like in the “Bb rhythm changes” bridge: (each dominant is in fact a temporary “I”)


Chord Substitutions - jazz guitar

Alright? So back to the situation where we want to resolve back to the I…

We had V-I becoming II-V-I. We can add another “II-V” a whole-step higher to get III-VI-II-V. And then we could even add one more “II-V” upfront. That means to start on the #IV (F#) to get to I (C):

Chord Substitutions - jazz guitar



This is called back cycling. The added “II-V’s” each contain the dominant of the next II chord. (A7 goes to Dm; B7 goes to Em and so on…) The back cycling chords should generally be min7th(b5) to dom7(b9) because they resolve to a minor quality chord (the next II):

Chord Substitutions - jazz guitar


Other possibilities exist of course. Here again, the other chord substitutions are yours to discover. Listen to pianists and guitarists on jazz recordings and find your own favorite back cycling tricks.


Second, the Infamous Tritone Substitution (at last!)

This type of substitution is the classical Neapolitan Sixth for dummies… uh, I mean for jazzmen ! Sorry (-;

Two dominant chords that are a tritone apart (three whole-steps) share the same 3rd and b7th (but “inverted” as pictured):Chord Substitutions - jazz guitar



The interval created by the 3rd and the b7th is a tritone. That can be a little confusing! The tritone is a raised fourth or a diminished fifth

Remember: Dominant chords a tritone apart share the same tritone ! The presence of this ambivalent tritone interval means that the bII chord has the same function as the V chord. Why? The tritone interval (present in both V and bII) tends to resolve the same way to the I chord! Try it:

Chord Substitutions - jazz guitar

That’s it for the theory side of tritone chord substitutions. feeew…

Still there? Good!

In real life, tritone subs transform the “up a fourth” motion into the “descending by semi-tones” motion. Jazz musicians use this concept freely in composition, improvisation and comping. A few good examples will clarify this. The basic III-VI-II-V-I is used to demonstrate the alternate chords :

Chord Substitutions - jazz guitar

[The last example is present in the tune “Lady Bird” by Tadd Dameron.]


Third, Changing the “Color”: 

That is just very obvious but I want to talk about it a little bit. It’s like the “cherry on top” for jazz chord substitutions.

Any chord can be played using another color. It works particularly well on chords than have already been substituted. For instance, if you play Db7 instead of G7…

Try Db major 7th, or…

Db diminished 7th, or…

Db major 6th, or…

Db _________ (write your own!)


This is a great compositional and improvisational device. It creates great contrast and can give the substitution less of a “clunky” feeling.

Some examples using the same progression as above:

Chord Substitutions - jazz guitar

What’s Next?

Check out these other articles about chord substitution chart and more …

The Ultimate Guide to Jazz Guitar Chords

Jazz Guitar Chords: Drop 2 Challenge

96 Jazz Guitar Chords in 10 Minutes


Final Words

There is a lot more to understand in chord substitutions. I could write a book (or two) about it … but it would be pointless to simplyMark Levine: The Jazz Theory Book read about it. Real music comes from experimentation and practice. It’s best to learn from recordings, in rehearsals and to attend

I established the basics on this page, you go on and find what you like how to play alternate changes. Keep your ears wide open and you’ll always discover new fresh ideas.

Have fun!

Speaking of which, here’s great book with countless examples from jazz recordings to cover all that jazz theory: The Jazz Theory Book, by Mark Levine. Highly recommended.


Marc-Andre Seguin is the webmaster, “brains behind” and teacher on, the #1 online resource for learning how to play jazz guitar. He draws from his experience both as a professional jazz guitarist and professional jazz teacher to help thousands of people from all around the world learn the craft of jazz guitar.

24 thoughts on “Chord Substitutions

  1. Great content! I make typo’s all the time and it looks like you have a musical typo in the section on “Theory refresher” talking about diminished structure. Your Abo7 shows Ab C D F. It should be Ab B D F.

    Great site! Very helpful.


  2. Very helpful and pleasant to read. thanks!
    I’m gonna add that to my favorite and read it again with my guitar this time 🙂

  3. Hi,
    I have a question about soloing on progressions with (what appears to be) flat-5 subs.
    Specifically, I’m have trouble on the first part of “One Note Samba” with the progression:
    || Dm7 | Db7 | Cm7 | B7b5 ||.
    Since the song is in Bb, I’m guessing that the Db7 and B7b5 are flat-5 subs for Gm7 and F7,
    so the underlying progression would be: || Dm7 | Gm7 | Cm7 | F7 ||.
    The problem I’m having is when I use the Bb scale it sounds bad (to me) over the Db7 and B7b5.
    Do you have any tips on what scales or licks to use on a chromatically descending progression like this one?

    • Good question!

      Actually the Dm7|Db7|Cm7|B7 progression is a sub for Dm7|G7|Cm7|F7 … and it’s that B natural note (the third of G7) that makes all the difference in the second bar. Notice how it’s a G7 and NOT a Gm7 chord.

      You could think of it like a series of two II-V-I a whole step apart … first Dm7-G7 then Cm7-F7. And yes, this is all in the vicinity of Bb major scale. This is a great introductory step to improvising on this progression. We typically call this III-VI-II-V.

      How to get to III-VI-II-V (“three six two five”)? Pretty simple. Start with I-VI-II-V as found on this page … and then replace the I with a III. Voila!

      However, if you want to be more specific with the changes, you’d want to play both the G7 and F7 as altered chord. Which gives pretty much exactly the Db7b5 and B7b5 sounds (tritone subs). Actually, they’re both dom7#11 chords (and not b5).

      The scales of choice are thus
      Db mixolydian #11 = Db Eb F G Ab Bb Cb
      B mixolydian #11 = B C# D# E# F# G# A

      If you’re eyebrows just lifted up in the air now (LOL), I recommend you check out this page on the website:

      It works really well thinking in “parent scales”, both scales above are modes of the melodic minor scale. So Db7#11 is actually the fourth mode of Ab melodic minor. And B7#11 is the fourth mode of F# melodic minor scale.

      Hope this helps! 🙂

  4. Great article.
    In the backcycling portion – I see an example about adding a whole step above pattern (of iii-VI) in front of the normal ii-V, yielding in the key of C the progression you noted of Em7(iii)-A7(VI)/Dm7(ii)-G7(V) before resolving to the C(I).
    I would have thought the A7 (VII) would be Am7 (vii) to fit in the key of C – but saw this sentence next: “The back cycling chords should generally be min7th(b5) to dom7(b9) because they resolve to a minor quality chord (the next II)”
    So I see that’s why A7 instead of Am7 (which seems “more correct” based on theory) – so is the A7 used because it resolves to minor chord more or less due to it just ‘sounds better’? Or is there a more theoretical reason?

    • You’re correct in that the A7 resolves better to a Dm7 chord. This is an example of what you would call a “secondary dominant” – a chord that does not usually have a dominant (V) function but is made to have that function to provide for a greater tension-resolution moment to the next chord. I wouldn’t say it sounds “better” per se, but it definitely makes for a stronger pull toward Dm, momentarily making Dm sound like the focus instead of C major.

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