. Conteno in this paper c omes from m any excellent jazz guitar i s ts � in -rdgtj person master classes , lessons, and writings . I reference t hose jazz guitarists in this paper. This paper assumes an intermediate unde rstanding of music theory; such as a general knowledge of intervals, enharmonic equivalents , chord spelling , and other related harmonic concepts. There are many books on the subject of jazz music theory; one excellent example is The Jazz Theory Book by Mark Levine. In addition, s ee the Glossary in the Appendix of this paper for some brief definitio ns of terms. Table of Contents �Quick Guide� ................................ ................................ ................................ ................................ ............... 2 �Quick Guide� (continued) ................................ ................................ ................................ ............................ 3 Introduction ................................ ................................ ................................ ................................ .................. 4 Extensions, Alterations, and Inversions � In Brief ................................ ................................ ......................... 9 Cadences ................................ ................................ ................................ ................................ ..................... 12 Diatonic Substitution ................................ ................................ ................................ ................................ .. 14 Companion Minor and �Back - cycling� ................................ ................................ ................................ ........ 16 Tritone Subs ................................ ................................ ................................ ................................ ................ 18 �Transformation� of Diminished Chords ................................ ................................ ................................ .... 19 Dom7b9 Chords ................................ ................................ ................................ ................................ .......... 21 �Transformation� of Augmented Triads ................................ ................................ ................................ ..... 22 Whole Tone ................................ ................................ ................................ ................................ ................. 23 Minor Harmony ................................ ................................ ................................ ................................ ........... 24 Natural Minor ................................ ................................ ................................ ................................ .......... 24 Harmonic Minor ................................ ................................ ................................ ................................ ...... 24 Melodic Minor ................................ ................................ ................................ ................................ ......... 25 Minor Harmony Compared ................................ ................................ ................................ ......................... 27 Some General Summary Thoughts on Chord Substitution ................................ ................................ ......... 29 Appendix ................................ ................................ ................................ ................................ ..................... 30 Appendix A: The cycle of Fourths / Fifths major key centers and minor key centers: ........................... 31 Appendix B: Constructing Chords on the Guitar Fretboard ................................ ................................ .... 32 Appendix C: Glossary ................................ ................................ ................................ .............................. 46 � 2017 Tom Healy A Few Harmonic Substitutions for Jazz Guitar Page 2 of 55 �Quick Guide� The basic h armonic ideas in this paper are as follows. See the body of this paper for a discussion of the ideas. Color Extensions and Alterations Play the chord changes as written, but extend or alter the chords. Inversions Use an Inversion of the written chord. Cadences There are common chord �cadences � that appear in many jazz tunes. Apply v ariations and substitution principles to these cadences. Diatonic Substitution Substitute the written chord changes with chords from the same diatonic key center. Cyclical Movement in 4ths Use the cycle of fourths/fifths to f ind new chord changes to substitute for the written chord changes. Tritone Substitution Use tri tone substitution to create new root movement and substitute for the written chord changes. Transforming Diminished and Augmented Understand the underlying theory of chord transformation of diminished chords and augmented triads to access a palette of harmonic substitution possibilities. Whole Tone Use whole tone harmony to substitute the written chord with a chor d from the same whole tone family . Natural Minor, Harmonic Minor, Melodic Minor Derive and �borrow� c hords from minor scales � i.e., natural minor, harmonic minor, and melodic minor . Combine any of the above