Jazz Chord Progressions
Jazz harmony is built on extensions, substitutions, and motion. The ii–V–I is the gravitational center of the language — a tension-and-release pattern that resolves a tritone substitution into a stable tonic. From there, the vocabulary opens into tritone subs, modal interchange, secondary dominants, and Coltrane changes that move in major thirds.
Defining characteristics
- →Seventh chords as the minimum unit (triads are rare)
- →ii–V–I as the foundational cadence
- →Tritone substitutions on dominant chords
- →Secondary dominants and chromatic approach chords
- →Modal interchange between parallel major/minor
Example progressions
ii–V–I in C major
iim7 – V7 – Imaj7 · C major
The single most common cadence in the jazz repertoire.
Minor ii–V–i
iim7♭5 – V7♭9 – im7 · C minor
The minor variant uses the half-diminished ii and an altered dominant for a darker resolution.
Rhythm changes A section
I – vi – ii – V · B♭ major
The 32-bar AABA form derived from "I Got Rhythm" — used in hundreds of bebop heads.
Coltrane changes (excerpt)
Imaj7 – ♭III7 – ♭VImaj7 · C major (modulating)
Movement in major thirds, dividing the octave equally. From "Giant Steps" — harmonic study material.
Songs in this style
Autumn Leaves — Joseph Kosma
Cm7 – F7 – B♭maj7 – E♭maj7 – Am7♭5 – D7 – Gm
Take the A Train — Duke Ellington
Cmaj7 – D7 – Dm7 – G7
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