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Jazz Guitar Educator
by Sal Salvador
The Jazz Player's Handbook
Extensions and Alterations
Rule 1:A jazz player never uses a plain major chord or a plain dominant 7th except for effect.
A C Major chord can become: C6, C Major 7, C Major 6 add 9, C Major 9, C Major 7 b5, C Major 7 aug. 11, C Major add. 13, C Major 7 #5, C Major 7 add. 6 add. 9, C Major 9 b5, C Major 9 #11, C Major 7 #9 #11, C Major 7 b5 b9, etc.
A C Minor chord can become: Cm6, Cm add. (major 7), Cm add. 9, Cm (add. major 7 add. 9), Cm b5, Cm (major 7) b5, Cm #11 (add. major 7), Cm6 (add. major 7), Cm#5, Cm6 add. 9, etc.
The C Dominant chords become: C9, C11, C13, C7b9, C7#9, C7b5, C7#5, C7#5b9, C7b5#9, C7#5#9, C7b5b9, C9b5, C9+11, C13 add. 11, C13b9, C13#9, C7sus.4, C9sus.4, C13b5, C+7, C+7b9, C+7add.9, C+7#9, etc.
Substitutions
Rule 1:Diminished chords become 7thb9 chords by using them over a root a half-tone lower than any note in the chord. Each diminished chord provides four 7thb9 chords. Taste will decide the choice.
Example: C diminished chord (º)
The Major scale is harmonized in four note chords. For purposes of substituting and transposing, that harmonized scale should be memorized by chord names and numbers.
Example: Key of C Major - Transpose to all keys.
Rule 2:
(3) minor 7th chords and (6) minor 7th chords = the (1) Major chord.
Example: Em7 + Am7 = CMajor7
Rule 3:
The 5 minor 7th of a dominant 7th chord can be used before, after or in place of the dominant 7th chord
Example:
When the (2) minor 7th chord is placed before the (5) dominant 7th chord, a 2-5 chord progression is created.
Example:
Rule 5:
When C four beats and G7 four beats is found, combining rules 3 and 4 will give you the very very common 1, 6, 2, 5 progression.
Example:
Example:
The flat (5) dominant 7 chord of the dominant 7th chord can be used in place of the 5 dominant 7th.
Example:
add a flat to create the Db9
flat 5 of 5
Db9 to CMajor7
Db dominant is the flat 5 substitute of G dominant. This is also called the tri tone sub-the tri tone being achieved by counting up 3 whole tones from the root-
Bass line moves chromatically (D-Db-C)
Rule 7:
A minor 6th chord leading to a dominant 7th chord one whole root tone above (Gm6 to A7b9) is misspelled. It should be (5) minor 7thb5 of the dominant 7.
Example: (Gm6 to A7b9) should be Em7b
5 to A7b9.
Gm6 and Em7b5 have the same notes but different root.
Rule 8:
When leading to a minor type chord, always alter the dominant 7th before it.
Example: (G9 to Cm)
G7b9 to Cm, G7#9 to Cm, G+7(G7#5) to Cm etc.
Remember to combine rules. Always play all of your choices, then decide on the ones you like. Keep the melody in mind and use your ear!
Remember that any chord with a flat 7 in it is a leading chord and any chord with a major 7 (natural 7) stops the harmony. The (2) M7 or (5) dominant 7th determine your tonal centers. They both lead to 1 which is your tonal center.
Example: Dm7, G13 bring you to C Major (C minor).
Many chords have the same notes and become different when used with different bass notes or placed in progressions in different ways.
Example:
G6 and Em7 are the same chord.
GMajor9 and Bm7 are the same chord.
Gm6 can be C9, Em7b5, Gb+7b9, Bb6b5, Db9, can be Eb9 sus.
A minor 11 (no 3rd) can be used for D11 or D sus.
C7b5 can be used for C7+11 or Gb7+11.
Gmin.9 = Bbmaj.7.
Gm maj.7 = Gb+, D+, B+
Gm6 = C9, Em7b5 etc.
These are but a few examples. Try to find more. They are useful for improvising.
The difference is in what the chord is moving to, or what is being used in the bass.
Minor third intervals also play an important role in substituting.
Example: C7, Eb7, Gb7, A7 can all lead to F major.
Rule 9:
Dom. 7th chords a minor 3rd apart sub for each other. The same holds true for minor 7th chords.
Example: Gm7, Bbm7, Dbm7, Em7 all can lead to F. Also Major 7th chords can move in minor 3rds.
Example: Gm7 leads to Fmajor7, Abmajor7, Bmajor7, Dmajor7.
Try 7thb9 chords in minor 3rds and listen. You'll soon find out what sounds good. Play dominant chords in the cycle of 4ths. Then play 2 - 5 progressions in the cycle. Use major 7ths in place of some or all of the dominant 7ths in the cycle of 4ths for resolutions, etc.
Rule 10:
At times the (4) major 7 or (4) dominant can be used for the one chord.
Example: Fmajor7 or F9 in place of Cmajor7.
Rule 11:
At times a minor 7th can be made into a dominant 7th using the same root. For thorough knowledge, everything should be practiced in the cycle of 4ths. It'll take a while, but it will certainly be worth it. There should be no favorite key. They're all musical and should be used as such.
All of these rules apply to the scales and arpeggios for improvising as well as chord playing.
What can be played over different chords?
One of the most frequently asked questions in the study of jazz improvising is, "What can be played over a given chord or progression?" The following examples should clear up some of the mystery concerning this aspect of playing, but first a few general comments are in order.
While it is important to have a thorough knowledge of the different scales, arpeggios, chords, etc., which make up the music, you must remember that jazz is like a language and, as such, it has its unique vocabulary, cliches, nuances, and subtleties. To communicate on common ground with other musicians, you need to be familiar with these things, as well.
Listening to and playing along with records is one of the best ways to learn conception and time feeling. Become aware of the ways different players interpret similar chords and progressions. Many guitarists tend to listen almost exclusively to other guitarists (this is probably true of other instrumentalists, as well). While there are many fine guitarists from whom much can be learned, you are placing serious limitations on yourself by not listening to other musicians, as well. Charlie Christian was heavily influenced by the playing of saxophonist Lester Young, while many of the more recent guitarists claim to have been influenced greatly by musicians such as Charlie Parker, John Coltrane, Wayne Shorter, and others.
Listening to some of the great pianists, such as Herbie Hancock, Bill Evans, Wynton Kelly, Tommy Flanagan, Chick Corea, Horace Silver, etc., will help you develop a feel for time, comping, and overall rhythm-section playing. Listening to some of the great rhythm sections (Count Basie, Miles Davis, Art Blakey, et al) will also help.
The following pages list some chords and progressions which are common to the jazz repertoire, along with some of the possibilities (scales, devices, etc.) that may be used to solo over them. Bear in mind, however, that these are by no means the only ideas that may be used, and it is strongly suggested that you also experiment on your own.
Remember, too, that even though a chord or progression is shown in one key, the same rules apply to all keys. If, for example, an F mixolydian mode is suggested for an F suspended chord, a C mixolydian would be used for a C suspended, and so forth. Consult the scale syllabus at the front of this book for any scales with which you may be unfamiliar.
- F maj. (Fmaj7, F6, F6/9, Fmaj9)
- F Major Scale
- F Lydian
- F Major Pentatonic
- C Major Pentatonic
- F Lydian #2 (A Harmonic Minor)
- F Lydian #5 (D Jazz Melodic)
- F Lydian
- Am (Am6, AmMaj7, AmMaj9, Am6/9)
- A Harmonic Minor
- A Jazz Melodic Minor
- Cm7 (Cm9, Cm11, Cm7sus/4)
- C Dorian
- C Phrygian
- C Aeolian
- C Minor Pentatonic
- C Dorian #4 (G Harmonic Minor)
- C Phrygian
- Cm7b5 (Cø7)
- C Locrian
- C Altered Dominant (Db Harmonic Minor)
- C Dorian b2b5 (Bb Harmonic Minor)
- C Aeolian b5 (Eb Jazz Melodic)
- C Altered - also called C Super Locrian or C Diminished Whole Tone (Db Jazz Melodic)
- Gb Lydian
- Gb Lydian #2 (Bb Harmonic Minor)
- C Altered Dominant (Db Harmonic Minor)
- F suspended (Fsus, Fsus/4, Eb/F) and F11
- F Mixolydian
- C Dorian
- Eb Major Pentatonic
- C Dorian
- C7#9
- C Altered, C Diminished Whole Tone, C Super Locrian (Db Jazz Melodic)
- A Locrian
- C Minor Pentatonic
- A Locrian
- Bb+7 (Bb7#5)
- Bb Whole Tone
- Bb Mixolydian I 6 (Et Jazz Melodic)
- Bb Altered, Bb Super Locrian or Bb Diminished Whole Tone (B Jazz Melodic)
- Bb Mixolydian I 6 (Et Jazz Melodic)
- D9+11 (D9augmented/11)
- D Whole Tone
- A Jazz Melodic
- C7b5
- C Whole Tone
- C Lydian Dominant, also called C Lydian b7 (G Jazz Melodic)
- C Aeolian b5 (Eb Jazz Melodic)
- C Altered, C Super Locrian, or C Diminished Whole Tone (Db Jazz Melodic)
- C Lydian Dominant, also called C Lydian b7 (G Jazz Melodic)
- G13b9 or G7b9
- G Half Tone-Whole Tone (Ab Diminished)
- E Major Arpeggio
- D7, D9, D13 or Any Non-Altered Dominant Chord
- D Mixolydian
- A Dorian
- C Diminished
- C Diminished Scale
- Eb Diminished Scale
- Gb Diminished Scale
- A Diminished Scale
- Eb Diminished Scale
| Dm7 G7 //// ////
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| Em7b5 A7alt //// ////
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D7 = D Whole Tone 
Blue notes (b3, b5, and b 7 of the key) may be used against most chords. As with any musical device, they should be used with discretion and taste. |
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