Chord substitution ideas for solos

[Bosko]

I was reviewing and organizing notes of stuff to work on and thought I would share it. If you find any typos or errors I will refund your purchase:

By incorporating chord substitutions in your solos you add harmonic depth and movement beyond the basic changes.

Some common chord substitutions to add harmonic variety and sophistication to progressions.


1. Relative Minor Substitution

• Replace a major chord with its relative minor (vi).
• Example:
  
  • Cmaj7 ? A-7
  • Gmaj7 ? E-7
  
  
• Works because they share three common tones.

2. ii-V-I Reharmonization

• Replace a dominant (V7) with a ii-V motion.
• Example:
  
  • Instead of C ? G7 ? C, play C ? D-7 ? G7 ? C.

3. Tritone Substitution

• Replace a dominant V7 with another dominant 7th chord a tritone away.
• Example: Instead of G7 ? C, play Db7 ? C.
• Works because G7 (G-B-D-F) and Db7 (Db-F-Ab-Cb) share the 3rd and 7th, which define the chord.

4. Secondary Dominants

• Introduce a V7 of a non-tonic chord.
• Example: Instead of C ? F, play C ? A7 ? D-7 ? G7 ? C.

5. Chromatic Passing Chords

• Use chromatic dominant 7th chords to smooth motion between chords.
• Example: Instead of C ? G7 ? C, play C ? Ab7 ? G7 ? C.

6. Diminished Passing Chords

• Insert a diminished 7th chord between two chords a whole step apart.
• Example: C ? C#°7 ? D-7 ? G7 ? C.

7. Parallel Minor Substitution (Borrowed Chords)

• Borrow chords from the parallel minor key.
• Example: Instead of C ? A-7 ? D-7 ? G7, play C ? A?maj7 ? D-7 ? G7.

8. Coltrane Changes

• Introduce mediant-based substitutions (root movements by major 3rds).
• Example: Instead of Cmaj7 ? G7 ? Cmaj7, play Cmaj7 ? Emaj7 ? Abmaj7 ? Cmaj7.

9. Minor iv Substitution

• Replace a IV chord with a minor iv (iv7).
• Example: Instead of C ? F ? C, play C ? Fm7 ? C.

10. Modal Interchange

• Borrow chords from parallel modes.
• Example: Instead of C ? G7 ? C, try C ? Bbmaj7 ? C (borrowed from C Mixolydian).

Using chord substitution concepts in soloing can add color, tension, and movement to your lines. Some ideas to experiment with:

1. Tritone Substitutions for Outside Playing

• Instead of playing over the given dominant chord, improvise using the tritone sub.
• Example: Over G7 ? Cmaj7, play over Db7 instead of G7.
• Scale Choice: G7 ? G Mixolydian (G-A-B-C-D-E-F) , Db7 ? Db Lydian Dominant (Db-Eb-F-G-Ab-Bb-B)
• This creates outside tension that resolves back to the I chord.

2. Upper Structure Triads for Modern Sounds

• Outline upper structures of chords rather than basic chord tones.
• Example: Over Cmaj7, instead of playing a Cmaj7 arpeggio: Use an E minor triad (E-G-B) ? highlights Cmaj7’s 3rd, 5th, and 7th. Use a G major triad (G-B-D) ? emphasizes the 5th, 7th, and 9th.

3. Playing Over Implied ii-V-I Instead of Static Chords

• Even if the chart has a static chord, imply a II-V-I.
• Example: Over Cmaj7, superimpose a D-7 ? G7 motion.
  
  • This makes your solo feel more harmonically active.
  • Try targeting F (D-7’s 3rd), B (G7’s 3rd), and E (Cmaj7’s 3rd).

4. Diminished Passing Substitutions for Chromaticism

• Instead of playing a dominant chord, use a diminished passing chord.
• Example: Over G7, use B°7 (B-D-F-Ab).
• This creates chromatic movement leading to the next chord.

5. Using Parallel Minor for a Darker Sound

• Borrow from the parallel minor key.
• Example: Over Cmaj7, use C Aeolian (C-D-Eb-F-G-Ab-Bb) for a darker feel.
• This can create a bluesy/modal effect.

6. Superimposing Secondary Dominants

• Instead of a basic II-V-I, insert secondary dominants.
• Example: Over a D-7 ? G7 ? Cmaj7 progression: Play A7 (V of D-7) over D-7. Play D7 (V of G7) over G7.
• This implies movement and adds tension-resolution cycles.

7. Coltrane Changes for Unexpected Motion

• Instead of resolving directly to the I chord, insert mediant substitutions.
• Example: Over G7 ? Cmaj7, use Coltrane changes:
  
  • Play Emaj7 ? Abmaj7 ? Cmaj7.
  
  
• This widens the harmonic space and gives a modern edge.

8. Side-Stepping for Tension

• Move a half-step up or down from the original harmony.
• Example: Instead of soloing over G7, play lines as if you were in Ab7, then resolve back.

9. Modal Interchange for Added Colors

• Borrow from other modes.
• Example: Over Cmaj7, use chords from C Lydian (Dmaj7, E7, Amaj7).
• Superimpose these triads/arpeggios to hint at different tonalities.

10. Using Arpeggios from Substituted Chords

• Instead of playing a basic arpeggio, use an arpeggio from a substitution.
• Example: Over G7 ? Cmaj7, play: B°7 arpeggio (B-D-F-Ab) over G7. E-7 arpeggio (E-G-B-D) over Cmaj7.
• This brings in altered sounds without explicitly playing altered scales.

When soloing over fast tempos in jazz you can simplify progressions using these techniques:

1. Guide Tones (3rds & 7ths)

• Instead of outlining full chords, focus on the 3rd and 7th of each chord.
• These two notes define the chord quality and help smooth out voice leading.
• Example over a II-V-I in C: Dm7 (F & C) ? G7 (B & F) ? Cmaj7 (E & B)

2. Chord Tone Targeting

• Instead of playing scales over each chord, target strong chord tones (1-3-5-7).
• Example over G7 ? Cmaj7: Play B ? C to emphasize the resolution.

3. Arpeggio Simplification

• Instead of playing a full arpeggio per chord, use one shape over multiple chords.
• Example: Over II-V-I (D-7 ? G7 ? Cmaj7), use a D-7 arpeggio for both D-7 and G7, resolving into a Cmaj7 note.

4. Pentatonic & Blues Scale Substitutions

• The minor pentatonic can work over multiple chords.
• Example: Over II-V-I (D-7 ? G7 ? Cmaj7), play A minor pentatonic (A-C-D-E-G), which fits over all three.
• The blues scale works too: G7 ? Cmaj7? Try a G blues scale (G-Bb-C-Db-D-F).

5. Upper Structure Triads

• Use simple triads to imply more complex harmonies.
• Example over G7: Instead of a full G7 arpeggio (G-B-D-F), play a B diminished (B-D-F) or D major triad (D-F#-A).

6. Motif Development

• Develop a small idea (3-5 notes) and repeat it with slight variations.
• Works great over fast tempos since it keeps your playing cohesive.

7. Bebop Enclosures

• Instead of spelling out full changes, use chromatic approach notes.
• Example over G7 resolving to Cmaj7: Target E (Cmaj7's 3rd) by playing D#-F-E.

8. Playing Over Larger Chunks (Ignoring Passing Chords)

• Instead of playing over every chord in a II-V-I-VI, simplify it to a single scale.
• Example in C Major: D-7 ? G7 ? Cmaj7 ? A7? Just play C major scale.

9. Rhythm and Space

• At fast tempos, less is more. Leave space and use rhythmic displacement to make lines sound more natural.

10. Thinking in Key Centers

• Instead of thinking of every chord separately, think of broader harmonic areas.
• Example: II-V-I in C? Just think C major and resolve your lines on strong chord tones.

There is enough there to keep you busy for most of your Sunday.

[rpjazzguitar]

Excellent list.

tiny point. Are those chords in C Lydian?

[AllanAllen]

4. Secondary Dominants

• Introduce a V7 of a non-tonic chord.
• Example: Instead of C ? F, play C ? A7 ? D-7 ? G7 ? C.

I don’t get it, could you fix the formatting?

[Bosko]

Excellent list.

tiny point. Are those chords in C Lydian?

Sorry, I'm not sure which chords you are asking about, I get a little loose with my notes, if it just mentions a C chord, consider a triad, c, e, g - note that this is meant as ideas to explore, sp go explore, have fun.

[Bosko]

Sorry, some details were lost in my paste in this post, when I have time I can add more detail, just skip what isn't clear to you and focus on other suggestions to explore.

[Mick-7]

4. Secondary Dominants

• Introduce a V7 of a non-tonic chord.
• Example: Instead of C ? F, play C ? A7 ? D-7 ? G7 ? C.

It's all the ? marks, is there a prize for guessing what they represent?.... maybe slash ( / ) signs?

[Bosko]

No prize, I will need to dig through my handwritten notes to see what got messed up in my Pages word processing format, I'll get to it in a few days.

[equenda]

It's all the ? marks, is there a prize for guessing what they represent?.... maybe slash ( / ) signs?

Probably a missing font substitution in Pages and/or in MS Word......

Save as PDF could be the solution to avoid unwanted font substitutions.

Ettore

[rpjazzguitar]

Sorry, I'm not sure which chords you are asking about, I get a little loose with my notes, if it just mentions a C chord, consider a triad, c, e, g - note that this is meant as ideas to explore, sp go explore, have fun.

Section 9. You have Dmaj7 as a Clydian chord. Dmaj triad, sure, but the C#?

Super list. Might as well make it perfect. Assuming this is an error.

[Ukena]

Seems that the question mark basically means "to" as in:

"Instead of C ? G7 ? C, play C ? D-7 ? G7 ? C." becomes "Instead of C to G7 to C, play C to D-7 to G7 to C.

or, "Instead of C -> G7 -> C, play C -> D-7 -> G7 -> C."

[nbevan3]

Nice to see this all in one place and a shorthand text

[Mick-7]

Nice to see this all in one place and a shorthand text

Yes, it's a very good summary, but a few examples contain errors, e.g., the one that rpjazzguitar mentioned.

9. Modal Interchange for Added Colors

• Borrow from other modes.
  
• Example: Over Cmaj7, use chords from C Lydian (Dmaj7, E7, Amaj7).
  
• Superimpose these triads/arpeggios to hint at different tonalities.

C Lydian chords would be: D7 (vs Dm7), Bm7 (vs Bm7b5), Am6 (vs Am7), etc.

[starjasmine]

Hmm.... C Lydian is the 4th mode of G major (one sharp, F#).

If we call C the I chord in Lydian mode, then those chords are
Ima7#11 - CEGB; if you add F# you get Cma7#11, the stereotypical "Lydian" sound
II7 - D F# A C = D7
iii7 - EGBD = Em7
ivm7b5 - F#ACE = F#m7b5
Vma7 - GBDF# = Gma7
vi7 - ACEG = A-7; you could use the F# here to make this A-6 instead
vii-7 - B D F# A = B-7

UPDATE: Thanks to Mick for catching an error in my analysis of vii. Corrected now.

[Mick-7]

Hmm.... C Lydian is the 4th mode of G major (one sharp, F#).

vii that's not really vii - BDF#A = this is weird; it's got a m3 and a +5 when spelled this way, which is not a real tertian chord.... but if you treat D as the root of the chord, you have Dma6/B.

B-D-F#-A = Bm7 (III chord in G major). VII chord in C major is Bm7b5.

[pamosmusic]

This seems like pretty obviously just a typo. He's listed off common upper structure subs for *D lydian* but listed them under C.

Just imagine he's talking to a tenor player for that bit and you'll be fine.

[Mick-7]

This seems like pretty obviously just a typo. He's listed off common upper structure subs for *D lydian* but listed them under C.

Just imagine he's talking to a tenor player for that bit and you'll be fine.

Problem with your tenor madness theory is that all of his examples are in the key of C.

[pamosmusic]

Problem with your tenor madness theory is that all of his examples are in the key of C.

Yeah i got that

Im saying it’s a typo. He probably copied and pasted from something and forgot to transpose it to C.

Or you can keep talking in circles about what he was possibly thinking when he did that. That’s cool too.

[Mick-7]

Yeah duh.

Im saying it’s a typo. He probably copied and pasted from something and forgot to transpose it to C.

Or you can keep talking in circles about what he was possibly thinking when he did that. That’s cool too.

That was not the only example in his treatise that was in error, they can't all be typos.

[pamosmusic]

That was not the only example in his treatise that was in error, they can't all be typos.

go on

[Mick-7]

Due to the graphic errors, the meaning of some things is unclear, ? appears to be replacing some symbols that aren't letters, e.g., flat (b) and sharp (#) notes.

[starjasmine]

B-D-F#-A = Bm7 (III chord in G major). VII chord in C major is Bm7b5.

Oops. Yes :-) Thanks for the correction. I blame it on switching to decaf :-) I'll correct my post.

[Mick-7]

Oops. Yes :-) Thanks for the correction. I blame it on switching to decaf :-) I'll correct my post.

Well, in G major it would be a Bm7b9 chord (rather than Bm7b5b9 in C major) which is not a chord I ever intentionally play, whereas I frequently play b5b9 chords.

[pamosmusic]

Due to the graphic errors, the meaning of some things is unclear, ? appears to be replacing some symbols that aren't letters, e.g., flat (b) and sharp (#) notes.

right so typographical stuff ... formatting

[starjasmine]

Well, in G major it would be a Bm7b9 chord (rather than Bm7b5b9 in C major) which is not a chord I ever intentionally play, whereas I frequently play b5b9 chords.

You've lost me completely. I've never heard of putting a b9 onto a m7b5, but if we are talking about B half-diminished as a rootless G9, then the C would be the 11, which kind of clouds the sonority. If I really wanted a sus or 11 (not #11) sonority, I'd omit the B. Since so much depends on context (i.e. is it really a rootless Gdom or an actual vii in C lydian?) I kind of feel that debating this further is just ratholing... i.e. in jazz, if it sounds good, it is good, and the rest is just debate. I do appreciate your ideas tho :-)

[Mick-7]

You've lost me completely. I've never heard of putting a b9 onto a m7b5

It's a voice-leading mutant and a synonym of Dm13.

Some examples:

Bm7b5b9 (Dm13) | x-0-0-4-1-1 |

Bm11b9 | x-2-0-2-1-0 |

Bm7b5b9 (Dm13) | x-5-7-5-6-7 | or | x-0-0-5-6-7 |

Bm7/C | x-x-10-7-10-7 | > Bm7b5| x-x-9-10-10-10| > Bb7#9 | x-x-8-7-9-9 | > Bb7#5 | x-x-6-7-7-6 | > Amaj7 | x-0-6-6-5-7 |