A Few Harmonic Substitutions For Jazz Guitar Sept 2017

An Outline of a Few Harmonic Substitutions for Jazz Guitar
A paper on using the Cycle of 4th/5ths as an informative guide

IMPORTANT NOTE: You can explore any one of the substitution techniques outlined in this
paper in great depth. The purpose of this paper is to provide a basic outline of some harmonic
substitution techniques for jazz guitar using the cycle of 4ths/5ths as a guide. Content in this paper
comes from many excellent jazz guitarists’ in-person masterclasses, lessons, and writings. I reference
those jazz guitarists in this paper.
This paper assumes an intermediate understanding of music theory; such as a general knowledge of
intervals, enharmonic equivalents, chord spelling, and other related harmonic concepts. There are
many books on the subject of jazz music theory; one excellent example is The Jazz Theory Book by
Mark Levine. In addition, see the Glossary in the Appendix of this paper for some brief definitions
of terms.
Table of Contents
“Quick Guide” ............................................................................................................................................... 2
“Quick Guide” (continued) ............................................................................................................................ 3
Introduction .................................................................................................................................................. 4
Extensions, Alterations, and Inversions – In Brief......................................................................................... 9
Cadences ..................................................................................................................................................... 12
Diatonic Substitution .................................................................................................................................. 14
Companion Minor and “Back-cycling” ........................................................................................................ 16
Tritone Subs ................................................................................................................................................ 18
“Transformation” of Diminished Chords .................................................................................................... 19
Dom7b9 Chords .......................................................................................................................................... 21
“Transformation” of Augmented Triads ..................................................................................................... 22
Whole Tone ................................................................................................................................................. 23
Minor Harmony........................................................................................................................................... 24
Natural Minor.......................................................................................................................................... 24
Harmonic Minor ...................................................................................................................................... 24
Melodic Minor......................................................................................................................................... 25
Minor Harmony Compared ......................................................................................................................... 27
Some General Summary Thoughts on Chord Substitution ......................................................................... 29
Appendix..................................................................................................................................................... 30
Appendix A: The cycle of Fourths / Fifths major key centers and minor key centers: ........................... 31
Appendix B: Constructing Chords on the Guitar Fretboard .................................................................... 32
Appendix C: Glossary .............................................................................................................................. 46
© 2017 Tom Healy A Few Harmonic Substitutions for Jazz Guitar Page 1 of 55
“Quick Guide”
The basic harmonic ideas in this paper are as follows. See the body of this paper for a discussion of the ideas.
Color Play the chord changes as written, but extend or alter the chords.
Extensions and
Alterations
Inversions Use an Inversion of the written chord.
Cadences There are common chord “cadences” that appear in many jazz tunes.
Apply variations and substitution principles to these cadences.
Diatonic Substitute the written chord changes with chords from the same diatonic
Substitution key center.
Cyclical Movement Use the cycle of fourths/fifths to find new chord changes to substitute for
in 4ths the written chord changes.
Tritone Use tritone substitution to create new root movement and substitute for
Substitution the written chord changes.
Transforming Understand the underlying theory of chord transformation of diminished

Diminished and chords and augmented triads to access a palette of harmonic substitution
Augmented possibilities.
Whole Tone Use whole tone harmony to substitute the written chord with a chord from
the same whole tone family.
Natural Minor, Derive and “borrow” chords from minor scales – i.e., natural minor,
Harmonic Minor, harmonic minor, and melodic minor.
Melodic Minor
Combine any of the above techniques.
More “quick guide” ideas follow on the next page.
“Quick Guide” (continued)
Trust your ear. Create strong bass movement and internal voice leading. The late, great Howard
Morgen said, “Find a line within the harmony and keep it going for as long as you can.”
The following are some ideas for chordal enrichment and substitution:
1. Use the same chord as written, but with:
a. Extensions
b. Alterations
c. Inversions
d. Change the “quality” of the chord type (major <-> minor <-> dominant)
e. CESH (Contrapuntal Elaboration of Static Harmony)
2. Use a Substitution Chord to create strong root movement.

a. Cycle of 4ths/5ths (back-cycle)
b. ½ steps (tritone substitution, chromatics)
c. Minor 3rds (dominant altered, diminished for dominant, half diminished)
d. Whole steps (diatonic movement, 7#5 in whole steps)
e. Diatonic substitutions
i. From the Major Scale
ii. From the Melodic Minor Scale
iii. from the Harmonic Scale
3. Use Any Chord.

a. Trust your ear
b. Use the melody line as the chord color extension
c. Use shared common tones
d. Quartal harmony
e. Modal interchange
f. Parallel chord movement
Introduction
Music is a rich and multifaceted art form. Musicians combine sound to produce interesting form,
melody, harmony, and expression of emotion. This paper focuses on some examples of using the
cycle of 4ths/5ths as a guide to the progression of the roots of chords and possibilities for chord
substitutions. There are three basic ways to use the cycle; for example:
 The “starting point” of the chord sequence.

o Consider a substitution for the staring chord for a sequence of chords.
 The “direction and flow” of the chord sequence.

o Use the cycle as a ‘steering mechanism’ guide for the flow of the chords from
one to the next.
 The “arrival point” of the chord sequence.

o Consider a substitution for the arrival point of the chord sequence (i.e. a
‘resolution.’)
Note: There are many sources elsewhere to learn much more about the cycle of 4ths/5ths. A short
working definition is – “The circle, or cycle, of 4ths/5ths, is a relationship among the 12 tones of
the chromatic scale, their corresponding key signatures, and the associated major and minor keys.”
View the cycle as a geometrical representation of relationships amongst the 12 pitch classes of the
chromatic scale. (See the Appendix for a graphic representation of the cycle of 4ths/5ths from the perspective of key
signatures, and major and minor keys. The terms “circle” or “cycle” are used interchangeably in this paper. However,
since this paper focuses on chord progressions, the term “cycle” is used most often.)
By no means does this paper purport to be a comprehensive representation of all harmonic (chord)
progressions. The examples are primarily given in Major keys. There is also a section regarding
harmony of the natural minor, melodic minor, and harmonic minor scales.
There are a vast number of harmonic variations and permutations. Let your ear by your guide. The
goal is exploration, creativity, and “play” in all meanings of that word. In addition, music is not
comprised of just “notes” and “rules,” it is equally, or even more important to play with dynamics,
time, feel, tone, phrasing, space, articulation, rhythm, creativity, and all other tools of musical
expression.
(Note: the construction of chords on the guitar fretboard is a vast subject. You can take a lifetime to
explore all the possibilities. Ted Greene was a master. See his books. Other recommendations
include instruction from people such as George Van Eps, Eddie Lang, and Howard Morgen.
The Appendix, “Constructing Chords on the Guitar Fretboard,” presents introductory instructional
material.)
The importance and power of the cycle in 4ths and 5ths in jazz is tremendous!
Ted Greene said -- “One of the most (if not the most) important patterns or progressions in the history of
music is the Cycle (circle) of 4ths (also called the Cycle (circle) of 5ths). Chunks or portions of this cycle
dominate the flow of most chord progressions.”
Regarding the statement, “…chunks or portions of this cycle dominate the flow of most chord
progressions.” The following are only a couple of examples diagraming the root movement of
chords on the cycle of 4ths/5ths. The examples come from a few bars of common tunes:
All The Things You Are |Fm7 | Bbm7 | Eb7 | Ab maj7 |
| Db maj7 | G7 | C maj7 | |
Fly Me to the Moon | Am7 | Dm7 | G7 | C maj7 C7 |
| F maj7 | Bm7b5 | E7 | Am A7 |
Autumn Leaves | Am7 | Dm7 | G maj7 | |
| F#m7b5 | B7b9 | Em | |
The Beauty of the Number 12
12 hours on the face of a clock. 12 inches in a foot. 12 months of the year. Organizing things by 12
is very useful – the number 12 is evenly divided by 2, 3, 4, and 6. (The number 10 is only evenly divided
by 2 and 5.) So, why does this matter in any way to a Jazz Guitarist? There are 12 “pitch classes”
available, regardless of what they are labeled (i.e., enharmonic equivalents). The sound of each of
these is what is important.
(only a The Note; Other Enharmonic Equivalents

count; not a and (x = double sharp)
designation) enharmonic (bb = double flat)
1 C B#, Dbb
2 C#, Db Bx
3 D Cx, Ebb
4 D#, Eb Fbb
5 E Dx, Fb
6 F E#, Gbb
7 F#, Gb Ex
8 G Fx, Abb
9 G#, Ab
10 A Gx, Bbb
11 A#, Bb Cbb
12 B Ax, Cb
This paper explores the mathematical nature of the cycle of 4ths/5ths from the perspective of chord
substitutions and transformations. The following diagrams show equal divisions of the cycle of
4ths/5ths. See the body of this paper for further discussion regarding the applications for chord
substitution.
12 divided by 2 yields 6
Tritones:
(A tritone is a musical interval that

spans three whole tones. The
tritone divides the octave into two
equal parts.)
augmented triads:
diminished chords:
Whole Tone families:
You can combine any of the harmonic substitutions techniques in this paper. Creating strong root
movement is a worthwhile goal of substitution; examples include:
 Perfect 4th cycles
 Chromatics; half-step from above or below
 Diatonic root movement from the key center (whole steps and half steps in the key center)
 Tritone substitutions
 Movement in minor thirds
Explore and play all of the choices then decide what you like. You may think “there is a lot to explore
and there are many variations” – you are correct. Even though this paper started with the topic
sentence: “Music is a rich and multifaceted art form,” you are not obligated to use every crayon in
the coloring box. Sometimes substituting a single chord completely transforms the tune and creates
a new color. Use your ear; it is your best guide.
A “whole brain” approach to creating art.
Use your whole brain – both logic and intuition. This paper considers the mathematical nature of the
cycle of 4ths/5ths. But, in addition, the paper attempts to consider the subject as a means toward
the end of creating music and “playing” in all sense of that word.
Left Brain Hemisphere Right Brain Hemisphere
Logical, organized, analytical, rational, symbolic, Holistic, non-rational, emotional, intuitive, spatial,
mathematical creative
Cycle of 4th/5ths as an organizational Trust the ear when applying the tools.
paradigm.
Music is more than just the notes; i.e.
Mathematical relationship of harmonic dynamics, articulation, feel, space, etc.
movement.
Application of imagination and personal
Symbolic use of chord qualities; nomenclature. taste.
Substitutional principles based on the

underlying music theory.
Extensions, Alterations, and Inversions – In Brief
A short definition:
 Extended chords come from the key center; i.e., enharmonically are:
o 2nd / 9th
o 4th / 11th
o 6th / 13th.
 Alterations; add a sharp or flat to the 5th, 9th, 11th, or 13th.
 Inversions; a chord's inversion describes the relationship of its bass to the other tones in the
chord.
One core jazz guitar technique is to use different color tones (extensions and alterations) for the
written chord progressions. Joe Pass frequently talked about simplifying chords into three main
types – major, minor, dominant.
A simplified point of view is:
1. Minor (a ‘traveling’ chord used between a tension and a release. However, this is not a fixed
rule, because in “diatonic substitution,” a minor chord can also function as a ‘release.’)
2. Dominant function (most often, a ‘tension’ moving to a ‘release;’ but dominant chords are
sometimes ‘static.’).
a. Diminished and augmented (can be similar to a dominant tension function).
3. Major (a ‘landing point’ – in other words, the ‘release’).
The very common chord sequence, ii – V7 – I, is an example of the three types: minor, dominant,
major.
Apply the use of extensions and alterations to any of the chords in the progression, or in chords
found with substitution principles. Some common color tones follow (but, use your ear and use
your taste according to the melody, moving lines, and applications of the chord substitution
principles described in this paper).
The 9th (enharmonically, the 2nd) Used on major, minor, or dominant chords.
The 11th (enharmonically, the 4th) Commonly added to chords that have a b3.
In major chords, the 3rd is often omitted if the 11th is used.
The #11 (enharmonically, the #4, or b5) The #11 is added to many 7th chords that have a major 3rd.
When #11 is used in major, it is often thought of as a
“Lydian” sound.
The 13th (enharmonically, the 6th) Most commonly added to major and dominant chords. Less
commonly used on minor chords.
b9 and #9 Used in different ways on dominant 7th chords.
“Alt” – all of the alterations; b9, #9, b5 Used on dominant chords.

(#11); and #5 (b13).
This is one example; if the chord progression is written:
Dm G7 C
Substitute with:
Dm9 G7#9 C Major 6
There are many other variations of this extension and alteration method. A table of possible
extensions and alterations follows.
An extension and alteration summary:
R b9 9 b3 3 4/11 b5 5 #5 6 b7 7
#9 #4 b13 13
#11
Major R 9 3 11 #11 5 b13 6 /13 7
Minor R b9 9 b3 11 (b5) 5 13 b7 7
(half diminished) (min-maj7)
Dom 7 R b9 9 #9 3 (sus) b5/#11 5 #5 13 b7
(Note: the term “half diminished” is used interchangeably with “m7b5” in this paper.)
Examples:
Major Minor Dominant

C Cm C7, C9, C11
C6 Cm6 C7#9
Cmaj7 Cm7 C7b9 (B diminished)
Cmaj9 Cm9 C alt (b5 or #5, and b9 or #9)
Cm7b5 C7 #11 (enharmonically, C7b5)
Quality alteration substitution: This is another substitution technique. When the quality of a chord
is changed, for example, a minor chord is substituted with a dominant seventh chord on the same
root, the new chord is of similar construction but with only one pitch different. There are seven
“basic chord qualities,” for example: B7, Bmin7, Bmin7b5, B diminished 7, Bmin6, B6, and B major
7th. You can experiment with substituting the written chord with a chord on the same root but of a
different quality. Let your ear, and the melody note of the tune, be your guide.
Inversions
In an inverted chord, the root is not in the bass. The inversions are numbered in the order their bass
tones would appear in a closed root position chord (from bottom to top).
In the first inversion of a C major, the bass is E, the 3rd of the triad, with the 5th
and the root stacked above it (the root is shifted an octave higher), i.e. E, G, C.
In the second inversion, the bass is G —the 5th of the triad —with the root and the
3rd above it (both shifted an octave higher), i.e., G, C, E
Third inversions exist only for chords of four or more tones, such as 7th chords. In
a third-inversion chord, the 7th of the chord is in the bass position.
See the Appendix: “Constructing Chords on the Guitar Fretboard,” for further information regarding
forming chord inversions on the fretboard.
Cadences
A short definition: In Western music, a harmonic cadence is a progression of at least two chords
that concludes a phrase, a section, or a piece of music. The graphics below show examples of
cadences.
The subject of this paper is the use of the cycle of 4ths/5ths in jazz guitar harmonic substitution. As
jazz guitar master Ted Greene stated “One of the most (if not the most) important patterns or progressions in
the history of music is the Cycle (circle) of 4ths (also called the Cycle (circle) of 5ths). Chunks or portions of this cycle
dominate the flow of most chord progressions.”
It is very important to understand why V7 to I is a strong and frequently used cadence. The
following example is given in the key of C; but, you can “spin the wheel” to put the target chord on
any other point in the circle and the movement in fourths from the preceding dominant chord to
the resolution will apply. There is both strong root movement and internal voice leading.
In this example below, the note B in the G7 chord moves up a half step to resolve to the note C in
the C chord. The note F in the G7 chord moves down a half step to resolve to the note E in the C
chord. This creates strong root movement and internal voice-leading resolutions.
Other common cadences follow. Apply substitutions principles to these cadences. “Spin the
wheel” to place the target chord on other points in the circle; the relative relationships apply.
IV can progress to I
As a variation, IV can
progress to V to I
bVII7 can progress to I

This is sometimes
called
“the backdoor.”
bVII7 can be thought

of
as a “borrowed” chord
from the parallel key
of C minor.
iv can progress to I
As a variation, iv can
progress to IV to I
There are many variations on these common cadences. The following table gives a few examples.
V7 to I ii – V7 – I
vi – ii – V7 – I
iii – vi – ii – V7 – I
IV to I IV – V7 – I
vi – IV – V7 – I
Variations Diatonic substitutions for any of the above: discussed later in this paper.
Tritone substitutions for any of the above: discussed later in this paper.
Diatonic Substitution
In major key harmony, there are three basic tonalities. It is important to hear the sound of each of
these three “groups,” not the theoretical name for them. Let your ear be your guide.
 Tonic sounds (I, iii, and vi),
 Sub-Dominant sounds (IV, and ii) and
 Dominant sounds (V, and vii).
You can use any of the chords in the bullet-point lines below as a substitution for one another in
that same line. This works because the chords on the bullet point line share tones. The tones not
shared can function as chord extensions. Trust your ear as a guide. For example, in the key of C:
 C major7; Em7; Am7 (I major7; iii; vi)
 F major7; Dm7 (IV major7; ii)
 G7; B half diminished (V7; vii half diminished)
Use the diatonic substitutions to enhance harmony, color, and create interesting root movement.
Here is one example based on a few bars from “All the Things You Are.” Chord changes as
written:
Fm7 Bbm7 Eb7 Ab major 7 (I)
Diatonic substitutions:
Fm7 Bbm7 Eb7 Cm7 (iii)
Fm7 Bbm7 Eb7 Fm7 (vi)
Moreover, there are many more variations when applying this substitution principle.
“Spin the wheel” on the cycle of fourths

and fifths to place the target chord (root)
on a different major key center. The
relationship pattern of the lines will apply
from that new point.
Companion Minor and “Back-cycling”
You can precede any major chord in a progression by its supertonic (ii7) and dominant (V7); or, just
it’s dominant. (See the section on Minor harmony; iim7b5 and V7b9 is often used to precede a
minor chord.)
In addition, you can also substitute the minor chord with a dominant chord; for example, ii-V7 can
become II7 – V7. Some common Companion Minor to Dominant 7th couplings are:
ii-V7
iii-VI7
iv-bVII7
v-I7
vi-II7
bii-bV7
#iv-VII7
biii-bVI7
The main point is that the relationship is moving in the cycle of 4ths/5ths; i.e. G7-->C major; or
Dm7-->G7-->C major; or Em7-->A7; etc.
Building on the example in the previous section that discussed Diatonic Substitutions, the following
are a few bars from “All the Things You Are.” The chord changes as written:
Fm7 Bbm7 Eb7 Ab major 7 (I)
Diatonic substitutions;
plus adding preceding
ii-V7 chords
Fm7 Bbm7 Dm7 G7 Cm7 (iii)

(ii / V7 to Cm)
Fm7 Bbm7 Gm7 C7 Fm7 (vi)

(ii / V7 to Fm)
Use the cycle of 4ths/5ths as your guide. Use your ear, the melody, and your taste to string chords
together in different and interesting substitutions. Example companion minors follow. “Spin the
wheel” to place the target chord (root) on a different major key center. The relationship pattern of
the companion minors will apply from that new point:
The term “back cycling” is the application of this same idea. As an example, if the target chord is C
Major, you can use the cycle of fourths in the following manner:
Em7 to A7 to Dm7 to G7 to C major 7
In other words, the cycle starts back at Em7 and progresses through the cycle of fourths chord
changes to reach the targeted chord of C△ (the triangle symbol refers to any extension for the C
major chord; i.e. major 7th, major 6th, major 9th, 6/9, etc.).
In addition, of course, you can combine any of the substitution tools to the process by extending
and altering any of the chords in the cycle. As well as using chord inversions to create interesting
root movement and color.
Tritone Subs
A short definition: A “tritone” is the interval of three whole steps from one note to its tritone.
(“Tri” = three whole steps.) This same interval is sometimes called an augmented fourth (#11) or a
diminished fifth (b5). The tritone divides an octave exactly in half.
The tritone substitution is widely used for V7 chords in the jazz chord progression "ii-V7-I.”
Replace the V7 chord with a dominant chord whose root is a tritone away from the root of the V
chord.
Use Tritone substitution in the companion minor applications previously discussed in this paper.
You can combine any of the harmonic substitution techniques. Explore and play all of the choices
then decide what you like.
Again, using a few bars from “All the Things You Are” as an example:
Fm7 Bbm7 Eb7 Ab major 7
Tritone Substitution;
Plus, adding the

preceding ii chord to the
tritone sub
Fm7 Bbm7 A7 Ab major 7

(Tritone to Eb7)
Fm7 Bbm7 Em7 A7 Ab major 7

(ii chord preceding A7)
Use the cycle of 4ths as the guide. Use your ear, the melody, and your taste to string chords
together in different and interesting substitutions. Here is an example of Tritone Substitution in a
few bars of a Blues progression:
Bb7 Eb7 Bb7 Bb7 Eb7 (blues

progression continues)
Bb7 Eb7 Bb7 Bm7 E7 Eb7

(The E7 is a tritone sub
for Bb7; Bm7 is the
preceding ii chord to E7)
The tritones are opposite one another on the cycle in the illustration below. There are six sets of
Tritones:
“Transformation” of Diminished Chords
To “transform” a diminished 7th chord to a dominant 7th chord, lower one note in the diminished
7th chord. There are 3 diminished “families.” Members of the same “family” are the notes that
form a square in the illustration below.
Think of the term “families” as a “set” or “group.” The term “family” in this paper refers to their
relationship to substitute for one another. Moreover, the transformations and rules of substitutions
that apply to any one note in the family are equally applicable to the other notes in the family.
Diminished chord G E Db/C# Bb

family members:
Diminished chord D Bb Ab F
family members:
Diminished chord A F# Eb C
family members:
Using the Edmin7 “family” as an example (the four points on the square of E, G, Bb, Db); the
column in the table below shows the spelling of Edim7 (but, since we know that since the tones are
equidistant from each other, we could have just as correctly called this a G dim7, Bb dim7, or Db
dmin7.)
Each successive column in the table that follows lowers one tone to produce its ‘transformation’
into a Dominant 7th chord; i.e.
• E is lowered to Eb to transform the diminished chord into an Eb7
• G is lowered to Gb to transform the diminished chord into Gb7
• Bb is lowered to A to transform the diminished chord into A7
• Db is lowered to C to transform the diminished chord into C7
You can use your ear to treat Eb7, Gb7, A7, and C7 as related substitutes since the underlying
theory shows they came as a transformation from the same diminished chord family.
And, taking this transformation process one step further, applying the ‘companion minor’
substitution rule of “you can preceded any chord in a progression by its supertonic (ii7),” each of the
preceding “ii” chords to the dominant 7th chords can also be considered related since they came
from the same transformational process. (This is something that Pat Martino does frequently. See
his extensive and interesting writing on the subject.)
As an example:
Bb min 7 – Eb7 Db min 7 – Gb7 E min 7 – A7 G min 7 – C7
Bb min7, Db min7, E min7, and G min7 are related since they came from the same diminished to
dominant chord transformation process.
Dom7b9 Chords
Diminished chords relate closely to Dom7b9 chords (which can also move in Minor 3rds and
substitute for one another). For example, F/B/D/Ab over a G root is a G7b9 chord. G7b9 shares
four notes in common with the diminished chord. The illustration below displays the diminished
tones F/B/D/Ab. Add the G as the root tone to create G7b9.
“Spin the wheel” to place the root of the chord on a different pitch to apply this process to each of
the three diminished “families;” i.e., the three squares in the cycle of 4ths/5ths below:
“Transformation” of Augmented Triads
Since the cycle of 4ths/5ths can be evenly divided into 4 augmented triads, and since the notes in each
of those 4 sets are equidistant from one another, then any one of them can be considered the
“root.” Therefore, each note within one of the sets is part of the same “family.”
In other words, C augmented is the same thing as E augmented which is also the same as G#/Ab
augmented. Those three roots are part of the same augmented family.
The four families (sets) of augmented triads are as follows (the 4 triangles) in the illustration below.
 C, E, G#/Ab (can named be C aug, or E aug, or Ab aug)

 G, B, D#/Eb
 D, F#/Gb, A#/Bb
 A, C#/Db, F(E#)
It is visually easy to see in the diagram below that each pitch in a family is equidistant from the other
pitches in the same family.
Transformation Example:
To transform C augmented (C, E, G#) raise or lower one note in the triad by a half step; i.e. for Fm
(raise the E to create F, Ab/G#, C); for Ab Major (lower the E to create Ab, C, Eb). Notice the
major/relative minor relationship of the transformations (Ab major / F minor; see Appendix A).
The chords contain the common tones of C and Ab.
C Augmented F Minor Ab Major

(the E is raised a ½ step F) (the E is lowered a ½ step to Eb)
“Spin the Wheel” to a different augment triad to apply this same transformation process to each of
the augmented “families.”
Whole Tone
Dividing the cycle of 4ths/5ths by six yields two whole tone families.
• In either of the two, any note in the family is the root since they are all equidistant from one
another.
• V7#5 (enharmonically V7b13) and V7b5 (enharmonically V7#11) chords can be derived
from a whole tone family. V7#5 chords from a whole family can move in whole step
substitutions for one another, an example follows:
So, for example, a whole tone scale starting on any of the

pitches in the family can be used on V7#5 chords from
that family, (i.e. C7#5 contains C, E, G#, Bb)
 C7#5 (the family contains the b7 and the #5)

 D7#5
 E7#5
 F#7#5
 Ab7#5
 Bb7#5
Of course, all the enharmonic equivalents apply.
One example:
D minor 7 G7 C△
Could become:
D minor 7 G7#5 A7#5 B7#5 C#7#5 C△
Minor Harmony
Natural Minor
The “Natural Minor” scale has a b3, b6, and b7. Natural Minor is also known as “Relative Minor”
since the scale contains the same notes of a major scale starting from the 6th degree of the “parent”
major scale. The “relative minor” is based on the “parent major.” (And, yes, the sequence of notes
is also known as the “Aeolian mode.” A rose by any other name.)
What is important for the focus of this paper is that the chords built from the Natural Minor scale
align to the same chords of its relative major. (Note: jazz guitar master and teacher extraordinaire,
Don Mock, has written excellent books regarding the various uses of minor scales and harmony.
Consult his books for detailed information.)
The table below shows an example Major scale chord harmony and its Relative Minor scale
harmony. The top row is a C major harmonized scale. The second row displays the chord symbols
for Major. The third row displays the chord symbols for Natural Minor – i.e. the same notes of a
major scale starting from the 6th degree of the “parent” major scale. Note that the quality of the
chords (major, minor, and dominant) are the same, but the staring degrees are different.
C Major 7 Dm7 Em7 F Major 7 G7 Am7 Bm7b5 C Major7 Dm7 Em7 F Major 7 G7 Am7
I Major 7 ii minor 7 iii minor 7 IV Major 7 V Dom7 vi minor 7 vii half dim I Major 7
i minor ii half dim bIII Maj7 iv minor7 v minor7 bVI bVII i

Maj7 Dom7 minor
Harmonic Minor
Notice that in Natural Minor the “Two Chord” is a half diminished chord (ii m7b5) and the “Five
Chord” is a minor chord (v minor 7). Because the Natural Minor harmony contains a “v minor 7” it
does not have a strong dominant motion back to the “One Chord” (the root). In order to address
this, Harmonic Minor raises the Third in the minor v chord to create a Dominant 7th chord, which
does have a strong resolution back to the tonic root chord.
Notice in the example below that the note G has been raised to a G#. G# is the third of the E
chord, thus creating a V7 dominant chord rather than a v minor chord. Since the G# must now be
used to construct the other chords in the scale, the resultant chords are displayed in the table below
and on the illustration of the cycle of fourths. (Also, notice that the “Five Chord” in Harmonic
Minor has the characteristic 7b9 sound. As discussed in a previous section in this paper, 7b9 chords
can move in minor thirds.)
Am7/maj7 Bm7b5 C Dm7 E7b9 F G# Am7

Major7#5 Major7#9 diminished 7
i minor/ ii half dim bIII iv minor7 V7b9 bVI Maj7 vii dim 7
major 7th Maj7#5
In the cycle of 4ths/5ths notice the ii half diminished chord to the V7b9 chord. This movement in
4ths creates a strong motion toward a minor chord resolution; but, it is not limited to minor
resolution, sometimes iim7b5 to V7b9 progresses to a major chord resolution to create an
interesting color. Scan the changes of a tune to find any iim7b5 to V7b9 chord changes. This
usually signals movement in a minor key. Playing the appropriate harmonic minor scale on the
V7b9 chord creates a strong color and motion toward a minor resolution.
Melodic Minor
Notice that the interval from the 6th degree to the 7th degree in the Harmonic Scale is a step-and-a-
half. In order to address this sometimes-awkward melodic interval, Melodic Minor raises the 6th
scale degree a half step. (Note: In classical music theory, the Melodic Minor scale is different going
down than going up. It is simply a natural minor scale when descending. However, in Jazz usage,
Melodic Minor is the same going up and going down.)
The chart of chords and the cycle of 4ths below displays the result of chord construction based on
raising the 6th a half step. The Melodic Minor scale example below has a flatted third (i.e. A to C
natural is an interval of a minor third), a natural 6th (in this example, F#), and a natural 7th (in this
example, G#).
Am7/maj7 Bm7 C D7#11 E7 F# m7b5 G# alt Am7/maj7

Major7#5#11 (natural 9)
i minor/ ii minor7 bIII IV7#11 V7 vi half VII7

major 7th Maj7#5#11 dim (b5, #5, b9,
#9)
Notice that the Melodic Minor harmony has two sets of Tritone pairs (bIII Major 7#5 / vi m7b5)
and (IV7#11 and VII7 alt.) From the previous discussion regarding Tritone substitution, you can
use the pairs as substitutes for one another to create strong root movement in a progression. They
can resolve to the same chord.
The 7#11 chord is an interesting color – often called “Lydian Dominant.” The chord can be
thought of as a “static” dominant chord. In other words, it is not necessarily pushing toward a
resolution. The following example is a few bars from “Stella by Starlight.” Note the 5th bar:
G7 aug Cm7
Ab7#11 Bb major 9
(enharmonically Ab7b5)
The Major7 #5 chord is also an interesting color – often called “Lydian Augmented.” The chord can
substitute for a Major 7 chord. The following example is a few bars from “All the Things You Are.”
The example combines tritone substitution, companion minors, a 7b9 chord, (which could also
move in minor 3rds), and a Major 7 #5 chord as the resolution point. The first line is the written
chord changes, the second line contains substitutes for those changes.
Fm7 Bbm7 Eb7 Ab major 7
Fm7 Bm7 E7 Em7 A7b9 Ab major 7 #5
Regarding the VII “alt” chord – typically in Jazz terminology an alt chord (i.e. G#7 alt) refers to a
dominant chord in which both the fifth and the ninth is raised or lowered by a half step; i.e b5, #5,
b9, #9. In addition, sometimes the b5 is written as its enharmonic equivalent, #11. An alt chord
creates strong tension toward a resolution point.
Minor Harmony Compared

The following three tables discussed above appear again below as a summary to compare and
contrast Natural Minor, Harmonic Minor, and Melodic Minor chord harmony:
Natural Minor
Am7 Bm7b5 C Major7 Dm7 Em7 F Major7 G7 Am7
i minor ii half dim bIII Maj7 iv minor7 v minor7 bVI Maj7 bVII Dom7
Raise the third in the “Five Chord” to create a dominant chord:

Harmonic Minor
Am7/maj7 Bm7b5 C Dm7 E7b9 F G# Am7
Major7#5 Major7#9 diminished 7
i minor/ ii half dim bIII iv minor7 V7b9 bVI Maj7 vii dim 7
major 7th Maj7#5
Raise the 6th to create whole step between the sixth and seventh scale degrees, rather than the step-
and-half that occurs in harmonic minor:
Melodic Minor
Am7/maj7 Bm7 C D7#11 E7 F# m7b5 G# alt Am7/maj7
Major7#5#11 (natural 9)
i minor/ ii minor7 bIII IV7#11 V7 vi half VII7

major 7th Maj7#5#11 dim (b5, #5, b9, #9)
It is useful to notice the differences in the “Two Chord” and the “Five Chord” in each of the above
harmonies. The “Two” – “Five” extensions are a signal for the underlying version of the minor
scale and can be used to create strong harmonic motion -- for example, the V7b9 chord from
harmonic minor; and, the VII alt chord derived from melodic minor.
Minor Harmony Summary Chart:
"Scale Natural Minor Harmonic Minor Melodic Minor
degrees"
1 i minor seventh i minor/major seventh i minor/major seventh
b2
2 ii half diminished ii half diminished ii minor seventh (nat. 5)
b3 bIII major seventh bIII major seventh #5 bIII major seventh #5
3
4 iv minor seventh iv minor seventh IV dominant 7th (#11)
b5
5 v minor seventh V dominant seventh (b9) V dominant seventh (nat. 9)
b6 bVI major seventh bVI major seventh
6 vi half diminished
b7 bVII dominant seventh
7 vii diminished 7th vii half diminished
1 i minor seventh i minor/major seventh i minor/major seventh
{paper continues with a summary and an appendix}
Some General Summary Thoughts on Chord Substitution
 Music is a rich and multifaceted art form.
 Musicians combine sound to produce interesting form, melody, harmony, and expression of
emotion.
 This paper focused on examples using the cycle of 4ths/5ths as a guide for root
movement in progressions of chords. (There is a great deal written elsewhere regarding the
use of the cycle of 4ths/5ths for identifying key centers and scalar material. That was not
the subject of this paper.)
 The importance and power of the cycle in 4ths and 5ths in jazz is tremendous.
 There are a vast number of harmonic variations and permutations. Let your ear by your
guide.
 Music isn’t comprised of just “notes” and “harmonic rules,” it is equally important to play
with dynamics, time, feel, tone, phrasing, space, articulation, rhythm, creativity, and all other
tools of musical expression.
 You can combine any of the harmonic techniques in this paper. Mix and match. Trust your
ear
 Explore and play all of the choices then decide what you like. Use what you like, when you
like.
 You are creating art. You can use your whole brain. Left: logical, organized, analytical,
symbolic, and mathematical. Right: holistic, emotional, intuitive, creative, non-verbal. Like
two sides of the same coin, right-brain creativity and left-brain logic secure and balance each
other.
 This paper attempted to explore the mathematical characteristics of the cycle of 4ths/5ths as
a guide for chord progressions and chord substitutions. The goal is to discover and utilize
interesting harmonic colors in the service of making music.
Appendix Follows
Appendix
A. The cycle of Fourths / Fifths major key centers and minor key centers
B. Constructing Chords on the Guitar Fretboard
C. Glossary
Appendix A: The cycle of Fourths / Fifths major key centers and minor key centers:
 Major Keys and their corresponding signatures are on the outside of the circle.
 Minor keys are on the inside of the circle.
 The minor key signature is the same as its relative major immediately adjacent on the outer ring of
the circle. For example: Ab Major / F minor; the key signature is 4 flats
As a memory-aid visualization on the guitar fretboard:
Appendix B: Constructing Chords on the Guitar Fretboard
The following is a step-by-step process for considering the layout of the guitar fretboard and
constructing chords.
First, consider the pattern of Octaves on the fretboard. This particular pattern starts on the note
“F” on the first fret, but you can start the pattern on any fret and the relative positions will apply.
Image that the fretboard extends for infinity in both directions, i.e., toward the nut and toward the
sound hole, the relative pattern will continue in both directions.
Next, if we consider that starting point in this example as the Root of the chord (the 1 – the note
“F” in this example), locate the major 3rd of the chord in relationship to that root:
At this point, it is worth noting that the open strings of the guitar are organized into four pairs of
Perfect 4ths and one Major 3rd.
The pairs of open strings: The interval between those strings:
The 6th string to the 5th string Perfect 4th
The 5th string to the 4th string Perfect 4th
The 4th string to the 3rd string Perfect 4th
The 3rd string to the 2nd string Major 3rd
The 2nd string to the 1st string Perfect 4th
Therefore, when constructing chords on the guitar fretboard, you must visualize and compensate for the
Major 3rd that occurs between the 3rd and 2nd strings.
In the following example, move the pattern of fretted notes directly across to adjacent higher strings. Raise
the note that falls on the 2nd string one fret (i.e., the note represented on the fretboard as an open circle is
raised up to the solid circle to compensate for the major 3rd that occurs between the 3rd and 2nd strings).
In addition, conversely, if transposing from high strings to low strings, move the pattern of fretted
notes directly across the adjacent lower string, lower the note that falls on the third string by one
fret.
←
This “string transposing” process becomes very important as you build other chords on the guitar fretboard.
Notice in the preceding example regarding locating the 3rds in relationships to the root, that the 3rd on the 2nd
string is directly adjacent to the root, whereas the 3rds one the other strings are one fret below the adjacent
root.
Next, if we consider that starting point in this example as the Root of the chord (the 1), locate the
Perfect 5th of the chord in relationship to that root:
Continuing the process, now combine the locations of the Major 3rds and the Perfect 5ths in
relationship to the root:
A useful pattern emerges. There are two harmonic sets: 1, 3, 5, 1; and, 1, 5, 1, 3.

 The set 1, 5, 1, 3 always has the root on a fret lower than the other fretted notes; in other
words, those fretted notes are toward the sound hole.
 The set 1, 3, 5, 1 always has the root on a fret above the other fretted notes; in other words,
those fretted notes are toward the nut.
If you consider the patterns a bit further, and use the principle of string transference previously
discussed, you find that there are six sets on adjacent strings. You can place the root of the chord
on either the 6th string, 5th string, or 4th string. There is a 1, 3, 5, 1 set from that root; and, a 1, 5, 1, 3
set from that root:
Here is an example using the six sets in the key of A:
At this point, you may be asking yourself about Inversions. The inversion are located within the six
sets; i.e.:
3, 5, 1 and
5, 1, 3
So far, we have only consider chords with the pitches 1, 3, and 5 on adjacent strings. In addition,
chords are formed skipping strings on the guitar. However, the same ‘construction’ process applies
to chords formed on non-adjacent strings.
Moving forward in this chord construction process; consider that starting point in this example as
the Root of the chord (the 1), locate the Major 7th of the chord in relationship to that root. The
Major 7th is a half-step (one fret) below the root.
Combine the process with the 3rd, 5th, and 7th
This is a visualization of the Major 7th chord inversions. The lines connect chord shapes starting on
the 3rd of the Major 7th chord, the 5th of the chord, and the 7th of the chord. This is only one
example of inversion fingerings for F Major 7th.
Continuing the chord construction process, add the Major 6th (which is enharmonically the 13th).
The chart becomes more complex, but it is still based on simple underlying construction principles.
You don’t have to limit yourself to selecting notes from within the brackets. You can consider the
available pitches as the colors on a palette and select from any combinations. You can see that this
process of adding extensions and alterations can continue. The following adds the Major 2nd, which
is enharmonically the Major 9th.
And, the following adds the Perfect 4th, which is enharmonically the 11th. All the major scale
diatonic pitches are now in this example diagram; Root (1), 2 (9), 3, 4 (11), 5, 6 (13), 7.
As the chord construction process adds extensions and alterations, it is still very useful to consider
“visualizing” and “anchoring” to the simple sets of 1, 3, 5, 1; and, 1, 5, 1, 3 that was the starting
point in this discussion.
The guitar master Howard Roberts wrote a great deal regarding visualizing the fretboard and
“controlling the voices.” For example, lower the 7th to create dominant sounds; or, lower the 3rd to
create minor sounds.
“Control the voices” to construct all of the chord qualities and their variations, alterations, and
inversions. For example: dominant 7th, minor 7th, 7b5, Diminished 7, minor 6, 6th, major 7th, etc.
Rather than memorize an encyclopedia of guitar chord “grips,” use a basic understanding of music
theory, and an understanding of the organization of the guitar fretboard to control the voices and
construct the chord colors you want to use.
1. On a single string
2. Adjacent strings
3. Skipping one string
4. Skipping two strings
5. Skipping three strings
6. Skipping four strings
7. Skipping five strings
Whole steps (W) and half steps (1/2) “formula”

m2 M2 m3 M3 P4 TT P5 m6 M6 m7 M7
½ step W W+½ 2W 2W+½ 3W 3W+½ 4W 4W+½ 5W 5W+½
Example follows on the next page.
Dominant (7th is lowered to b7) Minor (3rd is lowered to b3)
Appendix C: Glossary
Term Definition
"Two Chord" "Five The chord built from the scale degree (1, 2, 3, 4, 5, 6, 7) of the underlying
Chord" "One Chord", scale. For example, "The One Chord" is a major chord when based on a
etc. Major Scale; the "One Chord" is minor when based on a Natural Minor
scale. For example, "The Five Chord" is minor when based on a Natural
Minor scale; the "Five Chord" is a dominant 7thb5 when based on a
Harmonic Minor scale.
△ Represents any variation of a Major Chord; i.e. C△ could be played as C

Major 7, C Major 6, C Major 9, C 6/9, etc.
♭; ♯ Lower or raise the root of the chord while retaining the quality of the
chord (major, minor, dominant, diminished, augmented);
For example, in the key of C:
bii = Db minor
#ii = D# minor
bII7 = Db dominant 7th
#II7 = D# dominant 7th
etc.
Alteration Alteration is a chord with one or more diatonic notes replaced by a

neighboring pitch in the chromatic scale; for example, in Jazz it is
somewhat common, contingent on the context of the tune, to add a
sharp or flat to the 5th, 9th, 11th, or 13th. Use your ear and the rules of
harmony.
Arrows in the cycle Indicates the direction of the harmonic progression.

diagrams
Augmented Triads An augmented triad is constructed of two major. The term "augmented"
comes from the top note, the fifth of the triad, raised a half step
compared to a major triad. The fifth is "augmented," in other words,
raised a half step. Example: major triad = C, E, G; augmented = C, E,
G#.
Since the circle of 5th/4ths can be evenly divided into 4 augmented

triads, and since the notes in each of those 4 sets are equal-distant from
one another, any one of them can be considered the “root.” So, each
note within one of the sets can be considered part of the same “family,”
C augmented is the same thing as E augmented which is also the same as
G#/Ab augmented. Those three pitches are part of the same augmented
family. The four sets (families) of augmented triads are as follows. Any
one of the tones in a family can substitute for one another for either
chords or improvisational material:
C, E, G#/Ab (can be C aug, E aug, or Ab aug)
G, B, D#/Eb
D, F#/Gb, A#/Bb
A, C#/Db, F(E#)
Augmented for The augmented triad on the fifth scale degree may be used as a substitute
Dominant dominant, and may also be considered as ♭III+, for example in C: V+ =
G-B-D♯, ♭III+ = (enharmonically) E♭-G-B♮.
The chord a minor third above, ♭VII7, may be substituted for the
dominant, and may be preceded by its ii: iv7. Due to common use the
two chords of the backdoor progression (IV7-♭VII7) may be substituted
for the dominant chord.
In C major the dominant would be G7: GBDF, sharing two common

tones with B♭7: B♭DFA♭. A♭ and F serve as upper leading-tones back
to G and E, respectively, rather than B♮ and F serving as the lower and
upper leading-tones to C and E.
Back Cycling For example, insert the related dominant prior to its major chord
resolution. Insert the dominant's related ii chord. Insert the dominant
for that related ii chord, etc. When written simply as I major; it can yield
iii - VI7 -- ii -- V7 - I.
Cadence In Western music, a harmonic cadence is a progression of at least two
chords that concludes a phrase, a section, or a piece of music.
Chord Construction Major: Major 3rd - minor 3rd - Major 3rd
Dom 7: Major 3rd - minor 3rd - minor 3rd
Min 7: minor 3rd - Major 3rd - minor 3rd
M7b5: minor 3rd - minor 3rd - Major 3rd
Aug: Major 3rd - Major 3rd - Major 3rd
Dim7: minor 3rd - minor 3rd - minor 3rd (any one can be considered
root)
Chord Quality; 7ths, Major 7

6ths Dominant 7
Minor 7
Minor/Major 7
Half Diminished
Full Diminished
Major 6th
Minor 6th
Chords A chord is any harmonic set of pitches consisting of usually three notes
(also called "pitches") played simultaneously. This paper discusses
chords for application in jazz harmonic enhancements and substitutions.
Color Alteration 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 a G7…
Try Db major 7th, or…
Db diminished 7th, or…
Db major 6th, or… any ideas
Companion Minor When a chord or each chord in a progression is preceded by its

(ii-V subs) supertonic (ii7) and dominant (V7), or simply its dominant. This chord
enhancement is often simply called a "two-five," sometimes this is true
but often it's not. Some common Companion Minor - Dom7 couplings
are ii V7, iii VI7, iv bVII7, v I7, vi II7, bii bV7, #iv VII7, biii bVI7.
Consonance / Tension and release. From the overtone series we can derive a concept
Dissonance regarding pitches which we will term as either being active or resting.
The first three overtones present in the overtones series are the P1/P8,
P5 and M3. Tones a half step above or below those pitches have a
"gravitational" pull toward the 'resting tone.'
Intervals in order of Most Consonant to Most Dissonant:

Octave
Perfect 5th
Perfect 4th
Major 3rd
Major 6th
minor 6th
minor 3rd
Tritone
minor 7th
Major 2
Major 7th
minor 2nd
Cycle of 4ths/5ths The circle, or cycle of 4ths/5ths, is a relationship among the 12 tones of
the chromatic scale, their corresponding key signatures, and the
associated major and minor keys.
Diatonic Diatonic chords are generally understood as those that are built using
only notes from the same diatonic scale -- i.e. "stacking" the notes from
the underlying scale. Therefore, the diatonic chords derived from scales
such as major, natural minor, harmonic minor, and melodic minor will
have different extensions and alterations.
Diatonic Substitutions I, iii, vi (Tonic sounds)

ii, IV (Sub-Dominant sounds)
vii, V (Dominant sounds)
Diminished A diminished triad, also known as the minor flatted fifth (m♭5), is a triad
consisting of two minor thirds above the root. For example, if built on
C, a diminished triad would have a C, an E♭ and a G♭. Therefore, it
resembles a minor triad with a lowered (flattened) fifth.
In Jazz harmony, the m7b5 chord is common. For example, in Cm7b5

would be C, Eb, Gb, and Bb. m7b5 is also interchangeably known as
'half diminished' because a fully diminished chord would be C, Eb, G,
and Bbb (double flat).
Diminished for Play a diminished on the 3rd, 5th, b7th or b9th of any dom7(b9) chord.
Dominant
• Regarding G7 as V7 in the key of C -- G7 is related to Bb7, Db7 and E7 via
the diminished cycle.
o All four chords relate to Bdim7 which is one of the 3 dim7 chords related to
the key of C.
o The three are vii dim; i dim; and, bii dim
o Each Dom7 can have a "Companion Minor7,” and depending on voice
leading, each pair can resolve to C major.
Dominant -- Altered b5, #5, b9, #9

sounds
Dominant 7th A dominant seventh chord is composed of a root, major third, perfect
fifth, and minor seventh. It can be also viewed as a major triad with an
additional minor seventh.
Enharmonic An enharmonic equivalent is a note, interval, or key signature that is

equivalent to some other note, interval, or key signature but "spelled", or
named differently. Thus, the enharmonic spelling of a written note,
interval, or chord is an alternative way to write that note, interval, or
chord. For example, the notes C♯ and D♭ are enharmonic (or
enharmonically equivalent) notes. They are the same fretted note on the
guitar fretboard, and therefore they are identical in pitch, although they
have different names and different roles in harmony and chord
progressions.
Extension (Extended Extended chords come from the key center; i.e. 2nd/9th, 4th/11th,
chords) 6th/13th.
Half diminished A diminished triad, also known as the minor flatted fifth (m♭5), is a triad
consisting of two minor thirds above the root. For example, if built on
C, a diminished triad would have a C, an E♭ and a G♭. Therefore, it
resembles a minor triad with a lowered (flattened) fifth.
In Jazz harmony, the m7b5 chord is common. For example, in Cm7b5

would be C, Eb, Gb, and Bb. m7b5 is also interchangeably known as
'half diminished' because a fully diminished chord would be C, Eb, G,
and Bbb (double flat).
Harmonic Minor The notes of the harmonic minor scale are the same as the natural minor
except that the seventh degree is raised by a half step, making a step-and-
a-half (i.e. augmented second) between the sixth and seventh degrees of
the harmonic minor scale. This paper discusses the differences between
Natural Minor harmony, which has a minor "Five Chord," and
Harmonic Minor, which has a Dominant "Five Chord."
Harmony; Harmonic Harmony involves chords, their construction, and the principles of chord
Progressions progressions (movement from chord to chord). Harmony is often said
to refer to the "vertical" aspect of music; contrasted to melodic line, or
the "horizontal" aspect of music. The paper attempts to discuss
harmony from a jazz guitar perspective.
Hemisphere -- Left The brain is formed by two cerebral hemispheres that are separated by a
Brain groove, the longitudinal fissure. The brain can be described as being
divided into left and right cerebral hemispheres. Although it is an
overgeneralization and brain functions across both hemispheres, the Left
Brain is sometimes described as logical, organized, analytical, rational,
symbolic, and mathematical.
For the purposes of this paper, the study of jazz guitar harmony can
benefit from both logical and intuitive approaches.
Hemisphere -- Right The brain is formed by two cerebral hemispheres that are separated by a
Brain groove, the longitudinal fissure. The brain can be described as being
divided into left and right cerebral hemispheres. Although it is an
overgeneralization and brain functions across both hemispheres, the
Right Brain is sometimes described as Holistic, non-rational, emotional,
intuitive, spatial, and creative.
For the purposes of this paper, the study of jazz guitar harmony can
benefit from both logical and intuitive approaches.
Interval An interval is the difference between two pitches. An interval may be

described as horizontal or linear (i.e. melodic). When the pitches are
vertical (i.e. harmonic) the interval is describing the pitches sounding at
the same time, as in a triad, or chord. In jazz usage, intervals are most
commonly differences between notes of a diatonic scale. The smallest
interval is a half-step.
Inversion A chord's inversion describes the relationship of its bass to the other
tones in the chord. For example a C major triad contains the tones C, E
and G; its inversion is determined by which of these tones is the bottom
note in the chord; E, G, C; or G, E, C. This same process is used for any
extended chord. For example, C major seventh, C, E, G, B; can be
inverted as
E, G, B, C; or,
G, B, C, E; or,
B, C, E, G.
Key Center The key of a musical piece is a group of pitches, or scale, upon which the
music is composed. The group of pitches features a tonic note and its
corresponding chords, also called a tonic or tonic chord, providing a
'sense of arrival.' Notes and chords other than the tonic in a musical
composition (or chord substitution) can create varying degrees of
tension, resolved when the tonic chord returns. The key may be derived
from major or minor scales. In jazz, the key center can change from a
set of measures to a set of measures.
Lines or dashes in the Indicates a harmonic connection between the chords.

cycle diagrams
Melodic Minor The harmonic minor scale has an interval of a step-and-a-half between
the sixth and seventh degrees of the scale. In the history of music, some
composers felt it to be an awkward leap, particularly in vocal music, and
considered a whole step between these two scale degrees more
conducive to smooth melody writing. The sixth scale degree was raised
to create Melodic Minor, which has only whole steps and half steps in
the scale.
Melodic Minor Chord For instance, for a G7 altered, you might play Ab Melodic Minor, if you
Forms harmonize Ab Melodic Minor into 7th chords you can use any of the
resultant chords as a sub for G7 alt. If you use chords built on any two
adjacent scale degrees, say, Abmin/maj7 and Bbmin7, you'll get all of the
altered tones along with the 3 b7. Don't forget to try this idea for Tonic
minor, min7b5 and 7#11 and any other situation that you might like
melodic minor derived sounds.
Modal Interchange A borrowed chord (also called mode mixture and modal interchange) is a
chord borrowed from the parallel key (minor or major scale with the
same tonic). Borrowed chords are typically used as "color chords",
providing variety through contrasting scale forms, major and the three
forms of minor. Similarly, chords may be borrowed from the parallel
modes, the various modes beginning on the same tonic as a scale, for
example Dorian with D major. bVII7 can be substituted for V7. This is
borrowed from the Aeolian mode of C (based on major scale of Eb –
Cm7, Dø7, Ebma7, Fm7, Gm7, Abma7, Bb7, Cm7), but used in a major
key. IVm7 (or IVm6) can also be substituted for V7. Also borrowed
from the Aeolian mode (Cm7, Dø7, Ebma7, Fm7, Gm7, Abma7, Bb7,
Cm7).
Modulations Common-chord modulation (also known as diatonic-pivot-chord

modulation) moves from the original key to the destination key (usually a
closely related key) by way of a chord both keys share.
Natural Minor Every major key has a Relative Minor (i.e. Natural Minor), which starts
on the sixth scale degree. For example, the sixth degree of F major is D,
and therefore its relative minor is D minor. The relative natural minor of
a major key always shares the same notes: for example, F major consists
of F, G, A, B♭, C, D, and E, while D natural minor consists of D, E, F,
G, A, B♭, and C -- the same set of notes.
Natural Minor, Relative Minor, and the Aeolian mode, are terms to
describe the same set of notes.
Ostinato Pattern; in bass

or in other voices
Pedal points Chords move across the pedal. Produces tension to lead to release.
Tonic pedals
V in the bass as pedal
"Inverted pedals" -- i.e. in high voice
Or internal pedals -- middle voice
Double pedal tones
Pentatonic chords Chords built from pentatonic scales
Perfect 4th A fourth is a musical interval encompassing four staff positions. A

Perfect Fourth specifically spans five half steps. The abbreviation P4 is
occasionally used to indicate a Perfect Fourth.
Perfect 5th A fifth is a musical interval encompassing five staff positions. A Perfect
Fifth specifically spans seven half steps. The abbreviation P5 is
occasionally used to indicate a Perfect Fourth.
Pitch Pitch is the acoustical quality that makes it possible for humans to judge
sounds as "higher" and "lower" associated with musical melodies.
Musical notes are often referred to as "pitches." In Western music,
standard frequencies have been accepted to describe pitches, for example
The A above middle C is usually set at 440 Hz (often written as "A =
440 Hz" or sometimes "A440").
Polychords Two or more chords, one on top of the other. In shorthand, they are
written with the top chord above a line and the bottom chord below.
Progression A chord progression or harmonic progression is a succession of musical

chords, which are three or more notes, sounded simultaneously. Chord
progressions are the foundation of harmony in Western music.
For example: By whole steps: IV-V; V-vi; ii-iii. By cycle: V-I; ii-V; vi-ii;
iii-vi; vii-iii
Quality alteration When the quality of a chord is changed, and the new chord of similar
root and construction, but with one pitch different, is substituted for the
original chord, for example the minor sixth for the major seventh, or the
major seventh for the minor.
Quartel voicing Any harmonization based on the interval of a fourth or its inversion, a
fifth.
Relative major/minor Shares two common tones and is so called because it involves the
substitution relation between major and minor keys with the same key signatures,
such as C major and A minor.
Resolution (Resolve) Resolution in western tonal music theory is the movement of a note or
chord from dissonance (an unstable sound) to a consonance (a more
final or stable sounding one).
Dissonance, resolution, and suspense can be used to create musical
interest.
Roman numerals for Upper Case is used for major chords; usually Major 7th or any of the
chords extension or alteration chord colors for major.
I is the root of the key center.
Lower case numeral is for a Minor chord; usually Minor 7 or any of the
extension or alteration chord colors for minor; i.e. ii, iii, vi.
Upper Case (numeric) 7 is used for Dominant chords, or any of the

extension or alteration chord colors for Dominant; i.e. V7.
Secondary Dominants V of V. Pitches are "borrowed" from the scale of the secondary key
("tonicization").
Tone A musical tone is characterized by its duration, pitch, intensity (or

loudness), and timbre (or quality). The term Tone is sometimes used
interchangeably with "Note" or "Pitch" (although not accurately from
the point of view of classical theory terminology).
Triadic Functions Major; Minor; Augmented; Diminished
Tritone A “tritone” is the interval of three whole steps from one note to its
tritone. (“Tri” – think three whole steps.) This same interval is
sometimes called an augmented fourth (#11) or a diminished fifth (b5).
The tritone divides an octave exactly in half.
The tritone substitution is widely used for V7 chords in the popular jazz
chord progression "ii-V-I" (This type of substitution is also called a
Neapolitan Sixth.) Two dominant chords that are a tritone apart (three
whole-steps) share the same 3rd and b7th but “inverted.” Tritone subs
transform the “up a fourth” motion into the “descending by semi-tones”
motion.
Voice-leading Voice leading is the term used to describe the linear progression of
melodic lines (voices) and their interaction with one another to create
harmonies, according to the principles of common-practice harmony.
This paper discusses the use of the cycle of 4ths/5ths to find interesting
chord substitutions, which use strong root movement and voice leading
from chord to chord.
Whole tone A major second interval (sometimes called a Whole Tone) spans two half
steps. For example the notes C to D is a whole tone; the notes D to E is
a whole tone; the notes E to F# is a whole tone, etc.
Dividing the cycle of 4ths/5ths by six yields two whole tone families. In
either of the two, any note in the family is the root since they are all
equidistant from one another.
-- End of Paper --

A Few Harmonic Substitutions For Jazz Guitar Sept 2017

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A Few Harmonic Substitutions For Jazz Guitar Sept 2017

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An Outline of a Few Harmonic Substitutions for Jazz Guitar

A paper on using the Cycle of 4th/5ths as an informative guide

Inversions Use an Inversion of the written chord.

Transforming Understand the underlying theory of chord transformation of diminished

Combine any of the above techniques.

More “quick guide” ideas follow on the next page.

2. Use a Substitution Chord to create strong root movement.

3. Use Any Chord.

 The “starting point” of the chord sequence.

 The “direction and flow” of the chord sequence.

 The “arrival point” of the chord sequence.

Autumn Leaves | Am7 | Dm7 | G maj7 | |

The Beauty of the Number 12

(only a The Note; Other Enharmonic Equivalents

(A tritone is a musical interval that

Left Brain Hemisphere Right Brain Hemisphere

Substitutional principles based on the

Extensions, Alterations, and Inversions – In Brief

3. Major (a ‘landing point’ – in other words, the ‘release’).

b9 and #9 Used in different ways on dominant 7th chords.

“Alt” – all of the alterations; b9, #9, b5 Used on dominant chords.

This is one example; if the chord progression is written:

Dm9 G7#9 C Major 6

Major Minor Dominant

bVII7 can progress to I

bVII7 can be thought

 C major7; Em7; Am7 (I major7; iii; vi)

 F major7; Dm7 (IV major7; ii)

 G7; B half diminished (V7; vii half diminished)

Fm7 Bbm7 Eb7 Ab major 7 (I)

Fm7 Bbm7 Eb7 Cm7 (iii)

Fm7 Bbm7 Eb7 Fm7 (vi)

“Spin the wheel” on the cycle of fourths

Fm7 Bbm7 Eb7 Ab major 7 (I)

Fm7 Bbm7 Dm7 G7 Cm7 (iii)

Fm7 Bbm7 Gm7 C7 Fm7 (vi)

Fm7 Bbm7 Eb7 Ab major 7

Plus, adding the

Fm7 Bbm7 A7 Ab major 7

Fm7 Bbm7 Em7 A7 Ab major 7

Bb7 Eb7 Bb7 Bb7 Eb7 (blues

Bb7 Eb7 Bb7 Bm7 E7 Eb7

“Transformation” of Diminished Chords

Diminished chord G E Db/C# Bb

Bb min 7 – Eb7 Db min 7 – Gb7 E min 7 – A7 G min 7 – C7

 C, E, G#/Ab (can named be C aug, or E aug, or Ab aug)

C Augmented F Minor Ab Major

So, for example, a whole tone scale starting on any of the

 C7#5 (the family contains the b7 and the #5)

Of course, all the enharmonic equivalents apply.

i minor ii half dim bIII Maj7 iv minor7 v minor7 bVI bVII i

Am7/maj7 Bm7b5 C Dm7 E7b9 F G# Am7

Am7/maj7 Bm7 C D7#11 E7 F# m7b5 G# alt Am7/maj7

i minor/ ii minor7 bIII IV7#11 V7 vi half VII7

Fm7 Bm7 E7 Em7 A7b9 Ab major 7 #5

Minor Harmony Compared

Raise the third in the “Five Chord” to create a dominant chord:

i minor/ ii minor7 bIII IV7#11 V7 vi half VII7

{paper continues with a summary and an appendix}

B. Constructing Chords on the Guitar Fretboard

As a memory-aid visualization on the guitar fretboard:

The pairs of open strings: The interval between those strings:

The 6th string to the 5th string Perfect 4th