JAZZ
From Solo Jazz Guitar
(00695968)
Substituting I, III, and VI interchangeably Using Cmaj7 in place of Em7 creates a Em7#5 sound. Conversely, using Em7 in place of Cmaj7 creates a first inversion of Cmaj7—or Cmaj7/E. Using Am7 in place of Cmaj7 creates a C6 sound. Conversely, using Cmaj7 in place of Am7 creates an Am9 sound. In Fig. 3, I’ve reharmonized the I–VI–II–V using Am7 and Em7 to sub for Cmaj7 (the I chord). In measure 2,
I’ve substituted Cmaj7 and Em11 for Am7 (the VI chord). In measure 3, the first half note uses Fmaj7 (the IV chord) to substitute for Dm7 (the II
chord). In measure 4, the first half note uses Bm7#5 (the VII chord) to substitute for G7 (the V chord), creating a G9 sound.
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Fig. 3
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Cmaj7
˙
˙
Am7
˙
˙ Dm7
˙
˙
G7
˙
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T
A
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˙˙˙˙
Am7
VI
sub.
1
0
2
0
˙˙˙˙
Em7
III
sub.
3
4
5
7
˙˙˙˙
Cmaj7
I
sub.
5
4
5
3
˙˙˙˙ Ėm11
III
sub.
8
7
7
7
7
˙˙˙˙˙
Fmaj7
IV
sub.
5
5
5
7
8
˙ ˙˙¿˙
Dm11
3
6
5
5
X
˙˙˙¿˙
Bm7b5
VII
sub.
6
7
7
7
X
˙˙˙
G7
3
4
3
MINOR THIRD SUBSTITUTION
A minor 3rd substitution takes either the II chord, the V chord, or both the II and V up or down a minor 3rd before resolving to I.
Fig. 4 has a II–V–I progression in G major. I substituted the II chord (Am7) up a minor 3rd to Cm7, then to D7 (the V chord), and finally to Gmaj7 (the I chord).
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4 4 oe oe oe oe noe boe #w w Am7 D7 Gmaj7
Fig. 4 – IIm7 Minor 3rd Substitution
oe
oe
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#44
b b oeoeoeoe¿oe Cm7
oe
oe
oe
noeoeoeoeoe noe D9
oe
boe
#www¿¿w
Gmaj7
www
w
T
A
B
minor 3rd sub.
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85
8
8
8
X
8
5
5
5
4
5
6
4
7
5
3
2
4
3
X
X
Fig. 5 has the same II–V–I progression in G major, only I’ve substituted F7 for D7 (the V chord), resolving to
Gmaj7 (the I chord).
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#44 oe oe oe Am7
Fig. 5 – V7 Minor 3rd Substitution
oe
oe
D7
noe
oe
boe
#w
Gmaj7
w
&
4 4 oeoeoeoe
oe
Am7
oe
oe
oe
boeoeoeoe F7
noe
oe
oe
#wwww
Gmaj7
wwww
5
96 PREMIER GUITAR DECEMBER 2009
T
A
B
8
8
97
7
0
8
minor 3rd sub.
5
46
5
3
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