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10.01.2014
TweetFor today’s 30 Days to Better Jazz Guitar Comping lesson we’ll be checking out 10 must know I VI II V substitutions you can add over this common progression to give it some new spice. This lesson will be diving into more of the theory end than usual, but you can use all the following examples in your comping, chord solos, turnarounds and chord melody arrangements to better your jazz guitar playing. The I VI II V chord progression was used extensively in the rhythm changes section, so this section is to provide a resource of 10 common and usable substitutions for this popular progression. These substitutions can be applied to any point in a tune where a I VI II V is used, so intros, endings, vamps and turnarounds are the most common places this progression is found.
The I VI II V is a progression based of the 1st, 6th, 2nd, and 5th degrees of the harmonized major scale. Each scale degree can be harmonized with one of the four main chord types, shown in the chart below, but this section only focuses on the first degree, sixth degree, second degree and fifth degree. Start from the common and diatonic I VI II V the following charts shows eight possible substitutions that can be used for this chord progression. Example 2: Only a small change here again, the A-7 has now become a dominant 7th chord type.
Example 4: Example 3 can be taken one step further by applying tritone substitution to the VI chord (A7) and the V chord (G7). Example 5: the E-7 in the first bar has changed to a dominant 7th and applied the tritone substitution to the E7 and the D7 in the third bar, which has now made the progression cyclical again. Example 6: The preceding II to each of these V chords for more movement and single line solo potential.
Example 8: As with the earlier example each chord type can be made dominant for additional crunch.


Another substitute to be aware of that is commonly applied to the rhythm changes progression is the I maj7, #Io7, II-7, V7.
The last turnaround is featured in Tadd Dameron’s composition ‘Ladybird’, and is either referred to as the Tadd Dameron turnaround or the Ladybird turnaround. This turnaround works because each of the major 7 chords is a b5 sub of the chords usually found there.
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Check out any link below for the answers to my top 10 most frequently asked questions that I am asked by students, teachers, readers, and subscribers. This entry was posted by Jamie on 19 July, 2012 at 16:32, and is filed under 30 Days to Better Jazz Guitar Comping. Even the brilliant Tad Dameron ending of Ladybird becomes more obvious when we view it through this prism. Rather, it should say the diminished chord is acting as an A7b9 (without the A root) that resolves to the D-7. C-Liner originates in Italy made by Rivarossi, the majority of the AHM examples you find are Yugoslavian produced models.
The introductory price for the BL-2 was $8.95, which it still had nearly a decade later in the late '60s.
AHM added roadnames throughout the years and the total number of available E8 paints would end with over a dozen. European-made switcher would survive AHM's demise of the mid-1980s and joined Model Power's product line for a time.


You'll find this same Century 628 in Model Power packaging and it was last found in North America under the IHC Hobby banner. This is a diatonic substitution is referred to as a III-VI-II-V and is very commonly used, most famously in bars 3-4 of a rhythm changes progression. This cyclic dominant movement is very common in the bridges of bop tunes such as Anthropology and Scrapple from the Apple.
For those that don’t know what a tritone substitution is, it’s replacing a dominant 7th chord with a chord a b5 from the root of the dominant 7th chord in context. The diminished chord is acting as a G7b9 chord providing a smooth V-I resolution to the D-7. For example Eb is the b5 of A, the VI chord, Ab is the b5 of D, the II chord and Db is the flat 5 of G the II chord. I think you answered your own question – as you rightly said it all depends on how well the subs are executed. If you are at a jam session and someone tells you the tune has a ‘Rhythm Changes’ bridge they will be referring to this example so it’s worth knowing. Tritone substitution works because both the original dominant chord and the b5 sub share the same third and seventh.



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