Learning chord progressions in jazz seems like a daunting task.
I often find that some players who love jazz music become overwhelmed when they try to learn how a jazz chord progression functions or how to play jazz chords. They see a mountain in front of them instead of a bunch of individual steps that lead to the top.
Because chord progressions and jazz chords are harmonically complex, many musicians shy away from learning jazz music theory. However, with the right approach, you can master any jazz chord progression.
But, here is an insider secret—most jazz songs are constructed with the same small handful of common jazz chord progressions. Once you know this, you’ll realize that each new chord progression you learn can also be found in literally hundreds of other jazz songs because jazz uses many similar chord progressions.
The main takeaway here is that to master jazz, you need to understand basic jazz chord progressions—If your goal is to become an expert at playing solos over jazz tunes or jazz comping through changes, it’s essential that you master the 9 jazz chord progressions outlined in this post.
And, if you want a structured, fool-proof method of learning jazz chord progressions in and out, you need to check out the Learn Jazz Standards Inner Circle. When you join the Inner Circle, you’ll gain access to everything you need in order to master jazz chord progressions. Members have access to:
- A detailed analysis of a new jazz standard every month, including a comprehensive breakdown of the chord progressions inside of it.
- Access to a library of jazz courses to help you improve all aspects of your jazz musicianship and knowledge of jazz theory
- Instrument accelerator courses to help you master the technical aspects of your instrument (for jazz piano, jazz guitar, bass, trumpet, and saxophone).
So, on with the post! Let’s start with basic jazz chord progressions, and then we’ll move to substitutions and other common jazz progressions you need to know. From the jazz blues to rhythm changes, the following chord progressions will help you master every jazz song.
Table of Contents
Basic Jazz Chord Progressions in Jazz
The following fundamentals make up nearly all jazz tunes. Learn these important jazz chord progressions first!
1. The Major ii-V-I
The major ii-V-I chord progression is easily the most important jazz chord progression you need to know.
This common chord progression is also important in other styles of music as well, but it’s all over jazz standards. The major ii-V-I consists of three basic chords—a ii chord (minor seventh chord), a V chord (a dominant chord), and a I chord (a major seventh chord).
These are all diatonic chords, meaning they come from the same major key (the key of C in this case).
You’ll want to spend plenty of time working on the ii-V-I chord progression in every key. Whether you play jazz guitar or piano, you should familiarize yourself with this chord progression all over your instrument, focusing on different inversions and voicings.
Example:
In this case, we are in the key of C major. So:
- Dmin7 is the ii chord
- G7 is the V chord
- Cmaj7 is the I chord.
In total, our ii-V-I progression is Dmin7-G7-Cmaj7.
I won’t be sharing licks for all of these jazz chord progressions, but this being such an important one, here is an idea to help you get started.
Major ii-V-I progression Lick
Practice Challenges for this Jazz Chord Progression:
- Take the ii-V-I progression into all 12 keys, playing the arpeggios of each chord.
- Learn a ii-V-I lick from a favorite jazz musician or learn one of these.
- Identify the Important Chord Tones (3rds and 7ths) of each chord, and then target them when you practice improvising over this particular progression.
Here are ii-V-I chord progressions in every major key for you to practice.
2. Minor ii-V-i
This jazz chord progression has the same function as the previous major ii-V-I, but of course, is in a minor key. The minor ii chord and the minor i chord are both minor chords, and the V chord is a dominant chord.
In many jazz standards, you will find major and minor ii-V-I’s in the same song form. If you’re not sure how to come up with chord qualities in minor keys, go here.
Example:
The V chord can be turned into an altered chord to add harmonic tension, meaning you can add a b9, #9, or #5 (sometimes #11). In this case, I notated the V as a G7(b9) chord. Also, because we are implying a minor key, the minor ii chord has a flat 5th.
This is typical for ii chords in a minor progression.
Practice Challenges for these Jazz Progressions::
- Seek out a tune with lots of minor ii-V-i’s, such as Yesterdays or Alone Together. Find a recording you like and learn a minor ii-V-i lick by ear.
- Practice taking the minor ii-V-i chord progression through all 12 keys, and play the arpeggios of each chord.
Here are ii-V-i progressions in every minor key for you to practice.
3. Major I-vi-ii-V
This four-chord jazz progression appears in many standards. You’ll find it in any rhythm changes tune, such as Oleo. However, this chord progression is often written into certain jazz tunes or is used by chord players as a turn-around.
Example:
It’s important to note that the vi chord, to be diatonically correct, is a minor chord. However, jazz musicians will often turn it into a dominant seventh chord. In music theory, the act of turning non-dominant chords into dominant chords is called “dominantization” or “making a chord dominant.”
This often involves altering the chord to include a major third and a minor seventh. By “dominantizing” a chord, it gains a tendency to resolve or “pull” to another chord, typically a chord a perfect fifth below (or a fourth above).
This is common practice in jazz, and so I have listed it as an option above. This is important to be aware of.
Practice Challenges:
- Learn a I-vi-ii-V lick by ear or learn one of these.
- Learn a rhythm changes tune.
- Practice taking the I-vi-ii-V chord progression through all 12 keys, and play the arpeggios of each chord.
4. Minor i-vi-ii-V
Now let’s bring this common jazz chord progression into the minor key.
Example:
Remember that the vi chord in the minor diatonic series is being borrowed from the melodic minor harmonization of 7th chords. Therefore it is a half-diminished chord.
The challenge of this progression is learning how to improvise over two half-diminished chords in a row.
Practice Challenges:
- Learn some minor blues heads. Often times this minor chord progression is used as a turn-around.
- Work on spelling out the half-diminished chords. A great “pitch collection” to use is the Locrian mode.
These are the basic jazz chord progressions you need to know. If you have each chord progression down, you will be well on your way to dominating any jazz blues, jazz standard, ballad, or other type of tune.
Common Substitutions and Chordal Movements
I think it’s important that we go over a handful of important substitutions, alternatives, and add-ons to these basic jazz chord progressions. Oftentimes, players will change the chord qualities within the basic ii-V-I progressions and I-vi-ii-V progressions to
The basic jazz chord progressions are foundational, but they are just scratching the surface.
While I won’t be going over every possibility, I’ll cover some key ones that you should be
in the know about.
5. iii replaces the I
In jazz, you will often see the iii chord replacing the I chord, which is a major seventh chord.
For example, in the key of C, a Cmaj7 is replaced by an Emin7. If you think about it, an Emin7 chord is essentially a Cmaj9 chord without the root. The I and the iii here are sonically similar. This chord progression is known as a iii-vi-ii-V progression.
Practice Challenge:
- Go through some jazz standards you know and look for opportunities to substitute the iii for the I. Sometimes this won’t be appropriate, but it’s a good exercise of awareness.
6. #i diminished replaces the VI7
A classic substitution is the #i diminished chord for the dominant VI chord. This creates a diminished passing chord that brings you chromatically to the ii chord.
Most often this is seen in the context of a I-VI-ii-V progression. But when you sub the #i diminished for the VI it becomes: I-#idim-ii-V.
Why this works is a pretty hefty topic.
We cover the theory behind diminished chords in this post. But the basic concept is that a dominant 7(b9) chord has all the same essential chord tones as its corresponding diminished seventh chord. Therefore, diminished passing chords can be used instead of dominant chords.
Practice Challenge:
- Go through jazz standards you know and identify VI-ii relationships. Then replace the VI with a #i diminished.
7. I-IV7-iii-VI7
Jazz musicians are always looking for different ways to cycle chords. In traditional jazz
harmony, the harmonic movement is always trying to get back to the I chord.
Whenever the purpose of a jazz chord progression is to come back to the I chord it’s called
a turnaround. One such popular turnaround is the I-IV-iii-VI, which cycles into the ii-V-I.
Take a look at the IV chord.
To be diatonically accurate, the IV chord would be major 7, however, jazz musicians usually turn the iv chord into a dominant 7 chord (see “dominantization” above). The major 7 can be used but is less common. The VI chord is usually a dominant 7 in this scenario.
Practice Challenge:
- Learn the classic tune I’ve Never Been in Love Before. This jazz standard has this jazz chord progression in it.
8. Chromatic ii-V’s
Jazz musicians will often utilize what I call Chromatic ii-V’s. Sometimes they are included in a composition, but jazz players will often add these into the harmony or outline them in their improvisation.
Let’s use a ii-V-I example. This is a common use of chromatic ii-V’s, but you can apply this to others when cycling in 4ths.
Chromatic ii-V
Practice Challenges:
- Learn Bye Bye Blackbird. This substitution is actually built into the composition.
- Try imposing your own chromatic ii-V’s over turnarounds in a jazz blues, rhythm changes, or any jazz standards you know.
9. Tritone Sub of V
A tritone substitution is when you substitute a chord (usually dominant 7th) for a dominant 7th chord a tritone interval away.
Notice that a tritone sub of V in the context of a ii-V-I has the root notes moving chromatically (D-Db-C). A bass player, jazz guitarist, or pianist might play a chromatic bass line to imply this chord progression in their jazz comping. A chromatic bass line moves from the minor ii chord through the passing chord and resolves at the target.
Practice Challenge:
- Next time you come upon a ii-V-I, play a tritone substitution either in your comping or in your solo.
Extra Chord Progression Resources
If you want some extra help mastering jazz chords and jazz chord progressions, check out these resources below.
General Jazz Chords/Chord Progressions Help
If you need a refresher on triads and how to practice them for maximum results, check out this practice guide. Or, if you need a refresher on 7th chord harmony and music theory, check out our Ultimate Guide to 7th Chords.
Also, check out this guide to jazz blues progressions to take what you’ve learned here and apply it to the blues.
Help for Jazz Guitarists
If you need general help getting started with jazz guitar, then check out our Intro to Jazz Guitar: A Beginner’s Guide For Jazz Guitarists here.
If you are already familiar with the basics of jazz guitar but want more help with chords and voicings, check out these resources:
Jazz Guitarist Triads:
- Major Triads For Jazz Guitar
- Minor Triads For Jazz Guitar
- Diminished Triads For Jazz Guitar
- Augmented Triads For Jazz Guitar
7th Chords For Jazz Guitar:
Check out our post, 20 Basic Guitar Jazz Chords for a breakdown of essential 7th chord voicings on guitar.
- Maj7 Chords For Jazz Guitar
- Min7 Chords For Jazz Guitar
- Dominant Chords For Jazz Guitar
- Half-diminished chords For Jazz Guitar
- Diminished chords For Jazz Guitar
Help For Jazz Pianists:
Check out this post on 15 essential jazz piano chords for a refresher on jazz piano voicings.
Plus, here is the encyclopedia of two-hand jazz piano voicings.
Finally, check out our left-hand piano voicings for ii-V-I progressions.
Want To Master Jazz Music? Join The Learn Jazz Standards Inner Circle
Get all of these jazz chord progressions down, and you will have a huge advantage.
I highly suggest spending considerable time isolating these common progressions outside of the context of a song so that you can learn to improvise over them.
If you want one convenient place to master passing chords, chromatic ii-Vs, different chord voicings, diminished chords, and all the other essential aspects of jazz theory, then you need to check out the Inner Circle.
Whether you are a jazz guitar student, aspiring trumpeter, bass player, just getting into jazz, or anything in between, The Inner Circle has all the resources, tools, and community to help you become the best jazz player you can be.
If you want to accelerate your jazz playing, jazz theory knowledge, and overall musicianship with the help of professional jazz musicians, then come see what we’re all about.
