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Progressions may be created by freely choosing a chord from each column

(exceptions: Em7 usually follows G7, and Am7 usually does not follow Db7).

Name of sub. Original chords

Dm7 G7 CM7
Diatonic (3rd up) FM7 Bø7 Em7
Deceptive cadence Am7
Tritone sub Db7
Secondary dominant D7
Key change (M to m) Dø7 Im7 or Im(M7)
Diatonic & key change Fm7 Bo7


Progressions are not created by freely choosing a chord from each column: substitute
progressions are merely listed for each original chord. Chords in parentheses are
typical chords that follow the substitutes.

Name of sub. Original chords

Dm7 G7 CM7
V after m7 Dm7 G7
II before dom. 7 Dm7 G7
V before M7 G7 CM7
II V before M7 Dm7 G7 CM7
Secondary dominant Dm7 D7 (G7)
Diatonic & mode change Dm7 Fm7 (G7)
Parallel diatonic Dm7 Em7 FM7 (G7)
Parallel chromatic Ab7 G7 DbM7 CM7
F#7 G7 BM7 CM7
Authentic cadence CM7 G7 CM7
Plagal cadence CM7 FM7 CM7
Blue note embellishments D#o7 CM7
Basie ending* Dm7 D#o7 CM7

© 2001 by Paul Rinzler


Tune Bars Original

Diatonic The Song Is You 5-6 CM7 Em | Dm7 G7 |
CM7 Em | FM7 G7 |
Deceptive Isn't It Romantic? 2-3 Fm7 Bb7 |EbM7 Eo7 | Fm7
cadence Fm7 Bb7 | Cm7 Eo7 | Fm7
Tritone sub Ornithology 7-9 Fm7 | Bb7 |Eb7
Fm7 | E7 |Eb7
Secondary There Will Never 7-8 Cm7 | | Bbm7 | Eb7
dominant Be Another You Cm7 | | Bb7 | Eb7
Key change The Days of Wine 13-16 Eø7 A7 | Dm7 G7 | Gm7 | C7
(M to m) and Roses Eø7 A7 | Dm7 G7 | Gø7 | C7
Diatonic & key Misty 7-8 Gm7 C7 | Fm7 Bb7
change Gm7 C7 | Abm7 Bb7

V after m7 A Foggy Day 11-13 Bb6 | Bbm6 |FM7
Bb6 |Bbm6 Eb7 | FM7
II before dom. 7 All of Me 1-4 CM7 | | E7 | |
CM7 | | E7 | Bm7 E7 |
V before M7 All of Me 25-28 FM7 | Fm7 | CM7
FM7 | Fm7 G7 | CM7
II V before M7 All of Me 21-25 A7 | | Dm7 | | FM7
A7 | | Dm7 | Gm7 C7 | FM7
Secondary Beautiful Love 9-10 Dm7 | G7
dominant Dm7 D7 | G7
Diatonic & key Someday My 9-12 Dm7 | C#o7 |Cm7 | F7
change Prince Will Come Dm7 | C#o7 | Cm7 Ebm7 | F7
Parallel diatonic Days of Wine and 11-12 Gm7 | C7
Roses Gm7 Am7 BbM7 | C7

© 2001 by Paul Rinzler

Parallel Blue Bossa 7-9 Cm7 | | Ebm7
chromatic Cm7 | C#m7 Dm7 | Ebm7
Authentic 'Round Midnight 31-2 Cb7 Bb7 | Ebm7 | Ebm7
cadence Cb7 Bb7 | Ebm7 Bb7 | Ebm7
Plagal cadence God Bless the 7-8 EbM7 |
Child EbM7 AbM7 | EbM7
Blue note Don't Get Around 7-8 CM7 | G7
embellishments Much Anymore CM7 F#o7 | G7
Basie ending* Don't Get Around 7-8 CM7 | G7
Much Anymore CM7 Dm7 F#o7 | G7

D m7 D o7 CM6

Basie ending

© 2001 by Paul Rinzler