When you play jazz guitar you have a lot of power to spice up the naturalprogression of the harmony.

For the most part when you add chord subs to a song, you keep with the same points of tension and resolution but you can make them more radical or change the frequency at which the chords occur.

Sub 1 is a very common sub for a 1-6-2-5 progression. The G7 is a quality substitution and works very well because G7 is the “5” chord of C minor.

Sub 2 changes the second chord again – this time to a B diminished 7. This works well because you can always add a diminished chord a half step below a minor chord.

This also works because it’s the upper partial of a G7b9 chord. Basically it’s the same harmony as the G7 without the G! Instead you’re hearing the half step resolution of the “B” to “C”.

Sub 3 uses the G7 once more but raises the 5th for smooth voice leading to a Cm9 chord. From here I’m using a tritone substitution.

The easiest way to remember this sub is to resolve to the “1” chord by a half step above.

I’m altering the 9th for smooth voice leading again.

Sub 4 starts the same as the other but quickly moves to a Dm7 by placing an A7 before it.

The 5th of D minor is A so this works perfectly. We move to Dm7 to produce a sequential 2-5 pattern that descends until the resolution to Bb.

Dm7 – G9 is a 2-5 sequence in C and Cm7 – F9 is a 2-5 sequence in Bb.

Original – Bbmaj7 / Gm7 / | Cm7 / F9 / |

Sub 1 – Bbmaj7 / G7 / | Cm7 / F9 / |

Sub 2 – Bbmaj7 / Bdim7 / | Cm7 / F7b9 / |

Sub 3 – Bbmaj7 / G7# 5 / Cm9 / B7# 9 / |

Sub 4 – Bbmaj7 / A7 / | Dm7 G9 Cm7 F9 |


  Bbmaj7     Gm7        Cm7      F9
E |-----------10---------------------------|
B |--6--------11---------8--—-----8--------|
G |--7--------10---------8--------8--------|
D |--7--------12---------8--------7--------|
A |-----------10------------------8--------|
E |--6-------------------8-----------------|

Sub 1:

   Bbmaj7     G7      Cm7      F9
E |--------------------------------------|
B |--6--------8--------8---—----8--------|
G |--7-------10--------8--------8--------|
D |--7--------9--------8--------7--------|
A |----------10-----------------8--------|
E |--6-----------------8-----------------|

Sub 2:

   Bbmaj7    Bdim7    Cm7    F7b9
E |---------------------------------------|
B |--6--------6--------8--—----7----------|
G |--7--------7--------8-------8----------|
D |--7--------6--------8-------7----------|
A |----------------------------8----------|
E |--6--------7--------8------------------|

Sub 3:

   Bbmaj7     G7#5       Cm9      B7#9
E |----------------------------------------|
B |--6---------4---------3--—------3-------|
G |--7---------4---------3---------2-------|
D |--7---------3---------1---------1-------|
A |----------------------3---------2-------|
E |--6---------3---------------------------|

Sub 4:

   Bbmaj7      A7       Dm7       G9 Cm7 F9
E |--------------------------------------------------------|
B |--6---------5--------10-—------10--------8--------8-----|
G |--7---------6--------10--------10--------8--------8-----|
D |--7---------5--------10---------9--------8--------7-----|
A |-------------------------------10-----------------8-----|
E |--6---------5--------10------------------8--------------|

Want To Learn More …

jazz-boxWe recommend that only intermediate and advanced guitar players will be able to understand the techniques and concepts used through the course.

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