2.5 Jazz Standard Chord Progressions
The fundamental harmonic progressions of jazz
Key Concepts
II-V-I: The Foundation
The fundamental jazz progression. Subdominant → Dominant → Tonic. The tritone of the V7 resolves chromatically to the I. This works in both major (IIm7–V7–Imaj7) and minor (IIm7♭5–V7–Im7) progressions. Fundamental to improvisation.
Rhythm Changes (AABA)
Harmonic structure of ‘I Got Rhythm’ (Gershwin). 32 bars in AABA form. Hundreds of bebop tunes use this progression: “Anthropology”, “Oleo”, “Moose The Mooche”. It is the “bebop blues”.
Coltrane Changes
Modulations in major thirds (Giant Steps). Three tonal centres: B–G–E♭, which form an augmented triad. Changes key every two bars at 290 BPM. Considered the Mount Everest of jazz improvisation.
Turnarounds
Short progressions (2–4 bars) that return to the tonic. I–VI–II–V is the most common. Used at the end of AABA sections to ‘loop back’ to the beginning. Endless variations involving substitutions and tritones.
Year 5 Cycle
Descending fifth progression: Dm7–G7–Cmaj7–Fmaj7–Bm7♭5–E7–Am7. The foundation of ‘Autumn Leaves’ and many standards. Fifths are the strongest harmonic progression after tonic–dominant. They create momentum towards resolution.
Harmonic Substitutions
Tritone substitution: replace V7 with ♭II7 (same tritone). Diminished substitution, secondary dominants, backdoor progressions. Substitutions transform simple progressions into sophisticated harmonies.
II-V-I: The Fundamental Progression
The II–V–I progression is the cornerstone of jazz harmony. It features in almost all jazz standards and is essential for improvisation.
II–V–I Major
Function: Subdominant
Mode: D Dorian
Function: Dominant
Mode: G Mixolydian (or Altered)
Function: Tonic
Mode: C Ionian or Lydian
II–V–I Minor
Half-diminished
Mode: D Locrian
With ♭9 or ♭13
Mode: G Altered or Phrygian-Dominant
Minor 7
Mode: C Dorian or Aeolian
Rhythm Changes (I Got Rhythm)
Based on Gershwin’s song ‘I Got Rhythm’, it is one of the most commonly used harmonic structures in bebop. Hundreds of jazz pieces use this progression.
Basic Structure (in B♭)
Section A (8 bars, repeated)
Section B – ‘Bridge’ (8 bars)
Section A (last, 8 bars)
Coltrane Changes (Giant Steps)
A revolutionary progression by John Coltrane based on tonal centres that move in major thirds. Extremely difficult for improvisation.
Structure of Giant Steps
Three tonal centres a major third apart: B♭, G, E♭
Common Turnarounds
Turnarounds are short phrases (usually 2 or 4 bars) that return to the tonic. They are used at the end of sections to restart the form.
Basic Turnaround (I-VI-II-V)
The most common one. It sets the stage for the return to Cmaj7.
Jazz Turnaround (I-VI7-II-V)
VI7 (dominant) instead of VIm7 for greater tension.
Bebop Turnaround (I-III7-VI7-II7)
All dominant. Characteristic bebop sound.
Triton Substitution
Substitutes at a tritone interval. A sophisticated sound.
Other Standard Progressions
Autumn Leaves (Cycle of Fifths)
Movement in descending fifths. Very common in the standards.
All The Things You Are
A complex progression that shifts through various keys:
It modulates from A♭ to C to E♭ and returns to A♭.
Stella By Starlight
Famous for his use of half-diminished chords:
A sophisticated harmonic structure, ideal for study.
Minor II–V–I Variations
Basic:
Advanced:
Practical Examples of Progressions
Harmonic analysis of pieces that demonstrate the progressions studied. Listen to and analyse the harmonic structure.
"All The Things You Are"
Progression: Fm7–B♭m7–E♭7–A♭maj7 (modulates through 4 keys: A♭, C, E♭, G)
Analysis: 36 bars with continuous II–V–I sequences that modulate. Each phrase is a II–V–I progression in a new key.
Listen"Autumn Leaves"
Chord progression: Am7–D7–Gmaj7–Cmaj7–F#m7♭5–B7–Em7
Analysis: II–V–I minor with a very clear cycle of fifths. It alternates between major and minor keys.
Listen"Giant Steps" – Coltrane Changes
Progression: Bmaj7–D7–Gmaj7–B♭7–E♭maj7 (repeated)
Analysis: Modulation by major thirds (B → G → E♭). The roots form an augmented triad. The key changes every two bars.
Listen"Anthropology" – Rhythm Changes
Progression: Rhythm Changes in B♭ with chromatic substitutions
Analysis: The same structure as ‘I Got Rhythm’, but reharmonised with passing chords and substitutions.
Listen"Stella By Starlight"
Chord progression: Em7♭5–A7–Cm7♭5–F7–Fm7–B♭7–E♭maj7
Analysis: Half-diminished chords in unconventional positions. Sophisticated harmony with unexpected modulations.
Listen"So What" – Modal Jazz
Progression: Dm7 (16 bars) – E♭m7 (8 bars) – Dm7 (8 bars)
Analysis: It does not use traditional progressions. One chord per section, a Dorian modal approach. Voicings characteristic of Bill Evans.
Listen"Blue Bossa"
Chord progression: Cm7–Fm7–D7–E♭maj7–E♭m7–A♭7–D♭maj7
Analysis: Bossa nova with modulation to B♭ major (E♭maj7). It combines a bossa nova rhythm with jazz harmony.
Listen"Confirmation"
Chord progression: F-Em7-A7-Dm7-G7-Cm7-F7-B♭maj7
Analysis: AABA form with continuous II–V–I progressions. The bridge modulates to bIII (typical of bebop).
ListenHow to Analyse a Progression
Steps for Harmonic Analysis
- Identify the key: Look at the key signature and the first and last chords.
- Number the chords: Use Roman numerals (I, II, III, etc.) for each chord relating to the tonic.
- Identify the functions: Tonic (I, III, VI), Subdominant (II, IV), Dominant (V, VII).
- Look for common patterns: II-V-I, turnarounds, modulations.
- Note the modulations: When the key changes temporarily.
Key: C minor. Chord progression: Im7 – IVm7 (Fm7) – VII7 (D7) – IIImaj7 (E♭maj7).
Modulation to the bVI (E♭maj7) using the VII7 as a secondary dominant.
Study Tips
1. Learn the II–V–I progression in all keys
Practise Dm7-G7-Cmaj7, then E♭m7-A♭7-D♭maj7, and so on, across all 12 keys. First major, then minor. This is the basic vocabulary: you need to know it instinctively, without having to think about it.
2. Use iReal Pro or Backing Tracks
iReal Pro has thousands of standards with accurate chord progressions. Play ‘Autumn Leaves’ on a loop 100 times. You’ll never learn the chord progressions just by reading them: you have to PLAY along with them.
3. Analyse before improvising
Before playing a standard, analyse it: which II-V-I progressions? Where does it modulate? Which turnarounds? Write the Roman numerals above the chords. Understanding the structure = better improvisation.
4. Learn the Songs as a Family
Rhythm Changes: ‘Anthropology’, ‘Oleo’, ‘Moose The Mooche’. Same chord progression, different melodies. Once you’ve learnt Rhythm Changes, you’ve learnt 100 tunes. The same goes for the blues and II-V-I chains.
5. Transcribe solos over chord progressions
Transcribe Parker’s solos on ‘Rhythm Changes’ and Coltrane’s on ‘Giant Steps’. Note HOW they navigate the progressions: which notes they choose on each chord, and how they create lines across the chord changes. This isn’t theory; it’s pure practice.
6. Practise substitutions
Take ‘Autumn Leaves’ and replace every V7 with a lowered tritone (G7 → D♭7). It sounds different but it works. Add passing chords between IIm7 and V7. Have a go! Tritone substitutions are what set beginners apart from the pros.
7. Study the Progressive Standards
Order of difficulty: Autumn Leaves (easy) → All The Things You Are (medium) → Stella By Starlight (difficult) → Giant Steps (extreme). Don’t skip any steps: each piece teaches new concepts.
8. Play with other musicians
Jam sessions are where you really learn. When the drummer speeds up the rhythm changes to 280 BPM and you have to keep up with him, that’s when you REALLY understand the progressions. Progressions are a language: you learn them by speaking, not by reading a dictionary.
Common Mistakes to Avoid
1. Play the major scale throughout
Problem: Using the C major scale over Dm7–G7–Cmaj7. Technically correct, but it sounds static and boring. You’re not following the chord changes.
Solution: Use D Dorian over Dm7, G Mixolydian (or Altered) over G7, and C Ionian over Cmaj7. Each chord has its own character. Outline the arpeggios, not just the scales.
2. Failing to recognise the II-V-I
Problem: Looking at Dm7-G7-Cmaj7 and not immediately recognising it as ‘II-V-I in C’. You treat each chord in isolation rather than seeing the pattern.
Solution: Practise recognising II-V-I progressions instantly in any key. In a jam session, musicians say ‘II-V in C’, not ‘D minor seventh to G seventh to C major seventh’.
3. Ignoring modulations
Problem: ‘Autumn Leaves’ modulates from G major to E minor. If you carry on thinking in G major when you’re in E minor, you’ll be out of key.
Solution: Mark the key changes on the lead sheet. “Bars 1–8: G major, 9–16: E minor”. When the key changes, shift your mindset. The bass root notes will help you: listen to where the harmony ‘gravitates’.
4. Hurry along to ‘Giant Steps’
Problem: Trying to play ‘Giant Steps’ after having learnt only ‘Autumn Leaves’. It’s like trying to run a marathon after walking for a month.
Solution: ‘Giant Steps’ is the ultimate goal. First, master: ‘Autumn Leaves’, ‘Rhythm Changes’, ‘All The Things’ and ‘Stella’. THEN ‘Giant Steps’. It took Coltrane years to get there.
5. Forgetting the historical context
Problem: Playing rhythm changes without realising that it’s the ‘bebop blues’, and that Parker used it as a vehicle for jamming. You lose the feel and the spirit.
Solution: Listen to the original recordings. Study the context: why did Gershwin write *I Got Rhythm* that way? What makes *Giant Steps* revolutionary? Theory without history is meaningless.
6. Do not carry out turnarounds
Problem: You focus on sections A and B but don’t practise the turnarounds. When you get to the last two bars, you lose your way.
Solution: Practise ONLY turnarounds: I-VI-II-V in a loop for 10 minutes in all keys. Turnarounds are just as important as the rest: they are the ‘home’ you always return to.
7. Playing too ‘vertically’
Problem: Changing scale/mode on every chord creates a ‘choppy’ and disjointed sound. There is no melodic flow.
Solution: Think ‘horizontally’ too: create melodic lines that span the chords. Parker didn’t think ‘Dm7, then G7, then Cmaj7’. He thought of an 8-bar PHRASE that works across the entire progression.
8. Don’t sing the chord progressions
Problem: You know the sequence Dm7–G7–Cmaj7 in theory, but you don’t ‘feel’ the harmonic progression. Your improvisation doesn’t reflect the harmony because you don’t feel it.
Solution: Sing the root notes: “D… G… C…”. Sing the thirds: “F… B… E…”. Get a feel for the sound of the progression. Miles Davis used to sing everything before he played it. If you don’t sing it, you won’t hear it.
Final Summary
Basic Progressions
II–V–I (major and minor), Rhythm Changes (AABA), Cycle of Fifths, I–VI–II–V turnarounds
The Advanced
Coltrane Changes (major thirds), Modal Jazz (one chord, many modes), Tritone substitution and diminished
The Standards
Autumn Leaves, All The Things You Are, Giant Steps, Stella By Starlight, So What
The II-V-I progression is the very essence of jazz. Subdominant → Dominant → Tonic. The tritone of the V7 (B–F in G7) resolves chromatically to the third and seventh of the I (C–E in Cmaj7). This harmonic progression is universal: you’ll find it in almost every jazz standard.
Rhythm Changes is the AABA structure of “I Got Rhythm” (Gershwin, 1930). Thirty-two bars that have inspired hundreds of bebop tracks. It is the “bebop blues”: every jazz musician must be able to play it at 200+ BPM.
‘Coltrane Changes’ (Giant Steps) is the most difficult chord progression in jazz. It modulates in major thirds (B–G–E♭), forming an augmented triad. It changes key every two bars at 290 BPM. Even today, 65 years on, it is considered almost impossible. But it is like Mount Everest: if you conquer it, everything else becomes easier.
Harmonic substitutions transform simple progressions into sophisticated harmonies. Tritone substitutions (G7 → D♭7), secondary dominants, diminished approaches, backdoor progressions. The bebop musicians took simple standards and reharmonised them, creating a new harmonic language.
Harmonic analysis is essential: it identifies the key, labels the chords with Roman numerals, looks for patterns (II-V-I, turnarounds) and notes modulations. Understanding the harmonic structure means improvising consciously rather than ‘at random’.