WHAT IS A CHORD SUBSTITUTION? 5 ESSENTIAL JAZZ CHORD SUBSTITUTIONS YOU NEED TO KNOW

James Melton
June 7, 2024

GOOD FOR

Chord substitution is a technique used by improvisers and composers. In this technique, one or more chords in a chord progression are replaced by other, seemingly different chords.

This is because some chords share certain qualities with other chords, which make them interchangeable under certain circumstances despite having different root notes and sounding very different.

There are many ways to substitute chords! And we will examine some of the more common ways jazz players utilize chord substitutions. We’ll discuss:

Tritone Substitution
Secondary Dominant Chords
Modal Interchange and Borrowed Chords
And Many Others

So, let’s explore different types of chord substitutions and explain why they work the way they do!

This article is a great starting point to learn how chord substitutions work in music theory. However, if you want a deeper dive into what makes a chord substitution work, check out the Learn Jazz Standards Inner Circle.

The Inner Circle is designed to help players like you take their musical abilities and knowledge to the next level. If you want to improve in 30 days or less, then you have to check out what the Inner Circle has to offer!

Table of Contents

What is a Chord Substitution?

Here is the simplest definition for chord substitution:

A chord substitution is a musical technique where an original chord is swapped out for another chord that
Chord substitutions work because they often have the same (or nearly the same) harmonic function as the original chord, share the same common tones, or produce smooth voice leading that resolves the progression in a way that is similar to the original chord and sounds good.
The substituted chord often provides new and creative harmonic interest while maintaining the original chord progression’s momentum and function.

This technique is widely used in many music genres, including classical and popular music, to add variety and complexity to the harmony. However, it is most commonly used in jazz music.

Why Learn About Chord Substitutions?

Don’t think you need to know anything about chord substitutions?

Well, whether or not you are a chordal player, you still need to understand chord substitutions because they are a fundamental part of jazz language and the jazz style.

When you learn certain jazz songs, you are learning various chord substitutions, whether you know it or not.

What’s more, the harmonic concepts behind chord substitutions are widely used by jazz improvisers during jazz solos, even when there isn’t necessarily a chord substitution played by the chord player.

Don’t believe me? Check out this line:

ii-V-I with tritone substitution on the V chord

A line like this one implies a tritone substitution over the dominant chord.

A tritone substitution is one of the many types of chord substitutions we will explore later in this article. Lines like this reveal that your improvisational options are greatly expanded if you know how to imply chord substitutions in your solos.

The Importance of Learning Jazz Chord Progressions Before Practicing Chord Substitutions

It’s important for musicians studying jazz to know some of the common jazz chord progressions that you will encounter in jazz standards. To understand jazz chord progressions, you first need to understand diatonic chords and the progressions you can build from them.

Chord families are groups of chords that are built from the same scale. We will use the major scale as our example. When you use the major scale to construct diatonic chords, you end up with the C major chord family, which includes:

C major chord (C chord)
D minor chord (Dm chord)
E minor chord (Em chord)
F major chord (F chord)
G major chord (G chord)
A minor chord (Am chord)
B diminished chord (Bdim chord)

Let’s build a C chord from the C major scale:

Building a C chord from the C major scale

When going through this process for each note in the scale, we end up with the seven diatonic chords mentioned above:

Triads in the key of C

Diatonic chord progressions are built from these seven diatonic chords. Here are some below:

ii-V-I Chord Progression in C

ii-V-I chord progression in C

I-vi-ii-V Chord Progression in C

I-vi-ii-V chord progression in C

IV-V-iii-vi Chord Progression in C

IV-V-iii-vi Chord Progression in C

By learning the most common progressions, which often include chord substitutions written into the harmony, you’ll have a serious leg up on learning jazz songs and getting your jazz improvisation together.

Check out this crash course on nine jazz chord progressions you need to know.

5 Different Types of Chord Substitutions

Without further ado, let’s learn some chord substitutions!

Here are five types of chord substitutions jazz players will use when comping/improvising or jazz composers will write into their chord progressions:

Diatonic Substitutions

This chord substitution occurs when a chord is replaced by another chord from the same key. Chord families are built from the same seven notes. Therefore, chords built off of adjacent thirds will share many of the same notes.

For example, in the key of C major, you might replace a C major chord (or the tonic chord) with an A minor chord because both chords share some of the same notes (C and E):

Comparing C major to A minor

C major

5th: G
3rd: E
Rt: C

A minor

5th: E
3rd: C
Rt: A

It’s called a relative minor or relative major chord substitution when you substitute the tonic major chord for its relative minor or vice versa. The relative minor key shares the same key signature and, therefore, the same chords as the major keys.

So, in a progression, a major chord can be replaced with its relative minor or vice versa. For example, in C major, you could replace the tonic chord, or C major, with A minor, the tonic chord the relative minor key.

You can also substitute C major with E minor because they also share two of the same notes:

Comparing C major to E minor

C Major

5th: G
3rd: E
Rt: C

E Minor

5th: B
3rd: G
Rt. E

If you have a keen eye, you’ll notice that an A minor triad, when added to a C major triad, creates an A-7 chord.

Breaking down an A-7 Chord into an A minor triad and a C major triad

A-7

7th: G
5th: E
3rd: C
Rt: A

Likewise, a C major triad, when added to an E minor triad, creates a Cmaj7 chord.

Breaking down a Cmaj7 into a C major triad and an E minor triad

Cmaj7

7th: B
5th: G
3rd: E
Rt: C

This chord logic also applies to seventh chords and extended chords.

A-7 and Cmaj7 share many of the same notes, just like A- and C do.

Breaking down an A-9 chord into an A-7 and Cmaj7 chord.

A-9

9th: B
7th: G
5th: E
3rd: C
Rt: A

Cmaj7 and E-7 chords share many of the same notes, just like a C triad and an Eminor triad share many of the same notes.

Breaking down a Cmaj9 chord into a Cmaj7 and E-7 chord

Cmaj9

9th: D
7th: B
5th: G
3rd: E
Rt: C

How Diatonic Chord Substitutions Appear in Chord Progressions

iii-vi-ii-V

Here, the I chord (C) was switched out for a iii chord (E-). As mentioned above, the I chord and iii chord share many of the same notes. It is quite common for a I-vi-ii-V chord progression to be played as a iii-vi-ii-V.

Let’s look at another example. A D-7 and Fmaj7 share many of the same notes because they are built from adjacent thirds (much like Cmaj7 and E-7, or A-7 and Cmaj7). Playing an Fmaj7 over a D-7 chord implies chord extensions (the 9th).

D-7

7th: C
5th: A
3rd: F
Rt: D

Fmaj7

7th: E
5th: C
3rd: A
Rt: F

Replacing the ii in a ii-V-I with a IV chord

If we replace the ii chord with a IV chord, we imply a rootless D-9 chord instead of a regular ii chord. The substitute chord has all the same common tones (except for the D).

This is one way to change the sound of this common chord progression and make it more interesting without sacrificing its harmonic function.

Applying Diatonic Substitutions in Your Jazz Solos

When improvising, using diatonic substitutions can help you imply chord extensions. Let’s explore a few examples.

If the chord on the lead sheet is Cmaj7, but you outline an A minor chord substitution, you are implying a C6 chord:

Outlining an A-7 over a Cmaj7 chord

If you play an E-7 over a Cmaj7 chord, you are outlining a Cmaj9 chord:

Outlining an E-7 chord over a Cmaj7 chord

BEFORE YOU CONTINUE...

If music theory has always seemed confusing to you and you wish someone would make it feel simple, our free guide will help you unlock jazz theory secrets.

Tritone Substitution

The tritone sub is a common chord substitution technique in jazz and one we briefly referenced in an earlier section. This type of chord substitution occurs when a dominant seventh chord is replaced by another dominant seventh chord, one tritone interval (three whole steps) away.

This is how this chord substitution works. A dominant chord a tritone interval away shares the same guide tones as the original chord.

Guide tones are the 3rd and the 7th in any chord. These important chord tones provide important information regarding the harmonic movement in a chord progression. Here are the guide tones in a G7 chord and its tritone substitution, Db7.

Notice how they are the same!

G7 compared to Db7

G7

7th: F
5th: D
3rd: B (Cb)
Rt: G

Db7

7th: Cb (B)
5th: Ab
3rd: F
Rt: Db7

So, the V7 in a ii-V-I chord progression can be substituted with the bII7 chord because these two chords share the same guide tones. Let’s see that process in action!

Here is how the notes move in a regular ii-V-I progression in C:

Analyzing harmonic movement in a ii-V-I in C

C moves to B. Then, B stays on B.
A moves to G. Then, G stays on G.
F stays on F. Then, F moves to E.
D stays on D. Then, D moves to C.

Now, let’s examine the harmonic movement when we replace the G7 with a tritone substitution (Db7):

Analyzing harmonic movement in a ii-bII7-I in C

C moves to Cb. Then, Cb stays on Cb (B).
A moves to Ab. Then, Ab moves to G.
F stays on F. Then, F moves to E.
D moves to Db. Then, Db moves to C.

As you can see, the tritone substitution maintains the guide tones of the original chord while adding chromatic movement in the bass note and the fifth.

Therefore, despite a different root note, the harmonic function of the two chords remains the same.

Tritone Substitutions in Chord Progressions

The most common use of tritone substitution occurs on the V chord in ii-V-I progression. However, you can apply it in any situation where a ii-V relationship is present in the chord progression. For example, a iii-vi-ii-V progression has two ii-V relationships in it.

iii-vi
ii-V

Looking at ii-V relationships in a iii-vi-ii-V progression

In the iii-vi-ii-V chord progression above, you can replace the vi chord (A-7) and the V chord (G7) with tritone substitutions and still preserve the general harmonic movement of the progression while incorporating chromaticism.

Looking at the harmonic movement in a iii-bIII7-ii-bII7 chord progression

Applying Tritone Substitutions in Your Jazz Solos

Let’s learn a line you can play over the iii-bIII7-ii-bII7 progression discussed above:

Jazz line you can play over a iii-bIII7-ii-bII7 chord progression

For more on tritone substitutions, check out this article on using tritone subs in your jazz solos.

Secondary Dominants

A secondary dominant chord temporarily tonicizes a non-tonic chord in a chord progression.

You have a secondary dominant chord when you take a target chord and precede it by a non-diatonic dominant chord a perfect fifth below or perfect fourth above that target chord.

Also known as borrowed dominants, secondary dominants are common chord substitutions in jazz music. Secondary dominant chords are often written into the chord progressions of jazz tunes.

Using secondary dominant chord substitutions in a iii-vi-ii-V chord progression

For example, in a iii-vi-ii-V chord progression in C major (E-7-Am7-Dm7-G7), we can replace the iii, the vi, and the ii chords with their secondary dominant substitutions.

The iii chord, or E-7, can be substituted with E7 (III7), the V7 of the vi chord.
The vi chord, or A-7, can be substituted with A7 (VI7), the V7 of the ii chord.
The ii chord, or D-7, can be substituted with D7 (II7), which is the V7 of the I chord.

The new chord progression is III7-VI7-II7-V7 or E7-A7-D7-G7.

Secondary Dominants in Chord Progression

You might recognize these changes as the iconic bridge to Rhythm Changes, which uses a III7-VI7-II7-V7 chord progression in Bb or D7-G7-C7-F7.

Secondary dominants used in the bridge of Rhythm Changes

Diminished Substitutions For Dominant Chords

Dominant chords and diminished chords share some common tones that allow you to substitute dominant chords for diminished chords in chord progression.

Let’s compare an A7 chord to a Bb diminished chord and explore the common tones.

Notes in A7 compared to Bbdim

A7

7th: G (Abb)
5th: E (Fb)
3rd: C# (Db)
Rt: A

B Flat Diminished

7th: Abb (G)
5th: Fb (E)
3rd: Db (C#)
Rt: Bb

Note that diminished chords are unique in that each note in the chord is always a minor third away from the adjacent notes in the chord.

They are symmetrical, in other words. This means a Bb diminished chord is functionally the same as a C# diminished chord, which is functionally the same as E and a G diminished chords. That means you can replace A7 with any of those diminished chords; the result is the same.

You end up implying a rootless b9 dominant chord.

All four of these diminished chords are functionally equivalent to an A7b9 chord and can be used to substitute an A7 chord in any chord progression:

How four diminished chords can all functionally be A7b9 chords

Diminished Substitute Chords in Chord Progressions

Let’s look at a common example of diminished substitute chords in action!

Let’s take a I-VI-ii-V chord progression in C. That’s Cmaj7, A7, D-7, and G7.

I-VI-ii-V

Instead of an A7 chord (VI chord), let’s use a C#dim chord (#i chord).

I idim ii V

A7 Chord

7th: G
5th: E
3rd: C#
Rt: A

C# Diminished Chord

7th: A# (Bb or b9)
5th: G
3rd: E
Rt: C#

They are basically the same chord in terms of function, however the C#dim chord gives you chromatic movement in the root note as you move from the I to the #i to the ii.

Check out this article on how to substitute a dominant chord to learn more about this diminished chord substitution.

When you use modal interchange, you “borrow” a chord from another mode. Often, this mode is the parallel minor key. Many common chord substitutions are borrowed from the parallel minor. These substitutions are often written into jazz tunes.

Borrowed chords create harmonic interest by breaking out of the diatonic landscape while still being rooted to the tonic in some way.

Let’s compare the diatonic chords in C major and the chords from its parallel minor key, C minor.

Here are the diatonic chords in the key of C:

Chords in the key of C major

Here is the parallel minor key of C minor:

Chords in the key of C minor

Both of these parallel keys are tied to the tonic of C, but they offer different tonalities. Borrowed harmony gives you more options when it comes to chord substitutions.

Let’s explore some of the common chord substitutions pulled from the parallel minor key.

Minor iv Chord

The minor iv chord substitution is perhaps the most common example of borrowed harmony. In the key of C major, the IV chord is major. However, in the parallel minor, it is minor. A great example of this chord substitution in action can be found in the jazz tune All of Me.

Last eight measures of the jazz tune All of Me

This progression also features a secondary dominant chord and a diminished chord substitution!

bVII Chord (Backdoor ii-V)

ii-bVII7-I chord progression

One common chord substitution is the “backdoor ii-V,” which replaces the V chord with the VII chord from the parallel minor key. In C minor, the VII chord is Bb7.

A Bb7 chord shares some common chord tones with G7b9/#9 chord:

Comparing notes between G7b9/#9 and Bb7

G7b9/#9

#9: Bb
b9: Ab
7th: F
5th: D
3rd: B
Rt: G

Bb7

7th: Ab
5th: F
3rd: D
Rt: Bb

You can hear examples of this chord substitution in tunes like Stella By Starlight and Misty.

For more on modal interchange, check out this article on using borrowed chords. Check out this article if you want to know more about relative minor and parallel minor.

Join The Learn Jazz Standards Inner Circle To Master Chord Substitutions

If you want one place to master chord substitutions and harmonic analysis and accelerate your jazz improv and comping skills using what you’ve learned, you need to check out the Inner Circle.

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Learn Jazz Standards Messaging Terms & Conditions

Effective Date: October 02, 2020

This SMS message program is a service of Learn Jazz Standards. By providing your cell phone number, you agree to receive recurring automated promotional and personalized marketing text messages (e.g., SMS/MMS cart reminders, sale notices, etc) from Learn Jazz Standards. These messages include text messages that may be sent using an automatic telephone dialing system, to the mobile telephone number you provided when signing up or any other number that you designate. You give Learn Jazz Standards permission to send text messages to the enrolled cell phone number through your wireless phone carrier, unless and until you end permission per these Terms & Conditions. Consent to receive automated marketing text messages is not a condition of any purchase. Message & data rates may apply.

Message frequency may vary. Learn Jazz Standards reserves the right to alter the frequency of messages sent at any time, so as to increase or decrease the total number of sent messages. Learn Jazz Standards also reserves the right to change the short code or phone number from which messages are sent and we will notify you if we do so.

Not all mobile devices or handsets may be supported and our messages may not be deliverable in all areas. Learn Jazz Standards, its service providers and the mobile carriers supported by the program are not liable for delayed or undelivered messages.

By enrolling in the Learn Jazz Standards messaging program, you also agree to these messaging terms & conditions (“Messaging Terms”), our Learn Jazz Standards Terms of Use and Learn Jazz Standards Privacy Policy.

Cancellation

Text the keyword STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT to the telephone number, long code, or short code that sends you our initial confirmation message to cancel. After texting STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT to the telephone number, long code, or short code that sends you our initial confirmation message you will receive one additional message confirming that your request has been processed. If you change your preferences, it may take up to 48 hours for it to take effect. You acknowledge that our text message platform may not recognize and respond to unsubscribe requests that do not include the STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT keyword commands and agree that Learn Jazz Standards and its service providers will have no liability for failing to honor such requests. If you unsubscribe from one of our text message programs, you may continue to receive text messages from Learn Jazz Standards through any other programs you have joined until you separately unsubscribe from those programs.

Help or Support

Text the keyword HELP to the telephone number, long code, or short code that sends you our initial confirmation message to receive a text with information on how to unsubscribe.

No Warranty

TO THE MAXIMUM EXTENT ALLOWED BY APPLICABLE LAW, YOU ACKNOWLEDGE AND AGREE THAT THE MESSAGING PROGRAM IS PROVIDED ON AN “AS IS” AND “AS AVAILABLE” BASIS WITHOUT WARRANTIES OF ANY KIND, WHETHER EXPRESS OR IMPLIED.

Limitation of Liability

TO THE MAXIMUM EXTENT ALLOWED BY APPLICABLE LAW, YOU AGREE THAT IN NO EVENT SHALL EITHER OF Learn Jazz Standards OR ANY PARTY ACTING ON BEHALF OF Learn Jazz Standards BE LIABLE FOR: (A) ANY CLAIMS, PROCEEDINGS, LIABILITIES, OBLIGATIONS, DAMAGES, LOSSES OR COSTS IN AN AGGREGATE AMOUNT EXCEEDING THE GREATER OF THE AMOUNT YOU PAID TO Learn Jazz Standards HEREUNDER OR $100.00; OR (B) ANY DIRECT, INDIRECT, CONSEQUENTIAL, SPECIAL, INCIDENTAL, PUNITIVE OR ANY OTHER DAMAGES. YOU AGREE EVEN IF Learn Jazz Standards HAS BEEN TOLD OF POSSIBLE DAMAGE OR LOSS ARISING OR RESULTING FROM OR IN ANY WAY RELATING TO YOUR USE OF THE Learn Jazz Standards MESSAGING PROGRAM. Learn Jazz Standards AND ITS REPRESENTATIVES ARE NOT LIABLE FOR THE ACTS OR OMISSIONS OF THIRD PARTIES, INCLUDING BUT NOT LIMITED TO DELAYS OR NON-DELIVERY IN THE TRANSMISSION OF MESSAGES.

Indemnity

To the maximum extent allowed by applicable law, you agree to indemnify, defend and hold harmless Learn Jazz Standards, its directors, officers, employees, servants, agents, representatives, independent contractors and affiliates from and against any and all claims, damages, liabilities, actions, causes of action, costs, expenses, including reasonable attorneys’ fees, judgments or penalties of any kind or nature arising from or in relation to the these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers.

Dispute Resolution

General. Any dispute or claim arising out of or in any way related to these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers whether based in contract, tort, statute, fraud, misrepresentation, or any other legal theory, and regardless of when a dispute or claim arises will be resolved by binding arbitration. YOU UNDERSTAND AND AGREE THAT, BY AGREEING TO THESE MESSAGING TERMS, YOU AND Learn Jazz Standards ARE EACH WAIVING THE RIGHT TO A TRIAL BY JURY OR TO PARTICIPATE IN A CLASS ACTION AND THAT THESE MESSAGING TERMS SHALL BE SUBJECT TO AND GOVERNED BY ARBITRATION.
Exceptions. Notwithstanding subsection (a) above, nothing in these Messaging Terms will be deemed to waive, preclude, or otherwise limit the right of you or Learn Jazz Standards to: (i) bring an individual action in small claims court; (ii) pursue an enforcement action through the applicable federal, state, or local agency if that action is available; (iii) seek injunctive relief in aid of arbitration from a court of competent jurisdiction; or (iv) file suit in a court of law to address an intellectual property infringement claim.
Arbitrator. Any arbitration between you and Learn Jazz Standards will be governed by the JAMS, under the Optional Expedited Arbitration Procedures then in effect for JAMS, except as provided herein. JAMS may be contacted at www.jamsadr.com. The arbitrator has exclusive authority to resolve any dispute relating to the interpretation, applicability, or enforceability of this binding arbitration agreement.
No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding. You agree that, by agreeing to these Messaging Terms, you and Learn Jazz Standards are each waiving the right to a trial by jury or to participate in a class action, collective action, private attorney general action, or other representative proceeding of any kind.
No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding.
Modifications to this Arbitration Provision. Notwithstanding anything to the contrary in these Messaging Terms, if Learn Jazz Standards makes any future change to this arbitration provision, you may reject the change by sending us written notice within 30 days of the change to Learn Jazz Standards’s contact information provided in the “Contact Us” section below, in which case this arbitration provision, as in effect immediately prior to the changes you rejected, will continue to govern any disputes between you and Learn Jazz Standards.
Enforceability. If any provision of these Messaging Terms is found to be unenforceable, the applicable provision shall be deemed stricken and the remainder of these Messaging Terms shall remain in full force and effect.

Changes to the Messaging Terms

We reserve the right to change these Messaging Terms or cancel the messaging program at any time. By using and accepting messages from Learn Jazz Standards after we make changes to the Messaging Terms, you are accepting the Messaging Terms with those changes. Please check these Messaging Terms regularly.

Entire Agreement/Severability

These Messaging Terms, together with any amendments and any additional agreements you may enter into with us in connection herewith, will constitute the entire agreement between you and Learn Jazz Standards concerning the Messaging Program.

Contact

Please contact us with any inquiries or concerns at [email protected]