Some thoughts on substitutions

D-7 G7alt C^9

(F-7)
$# # % An old Charlie Parker trick is to substitute
! # # # # # $# # # # # a minor 7th chord over chord five which is a
minor 3rd above chord two. This gives a great
symmetrical sound. The scale degrees/extensions
!7 !9 4 !13 as they relate to G7 are noted under the
arpeggio.
Also, each note of this new minor 7th chord
(in this case F-7) can resolve down a semi-tone
to a C major 9 arpeggio (E G B D), these notes
also happen to form an E-7 chord.

We can also target this E-7 chord from a variety of places; in fact you can use any harmonic device you know
to approach this chord. Here are a few examples:
(Each is preceeded by the D-7, the ii chord from the ii V I in C. Although you can omit this if you want.)

Dorian Locrian Diminished C Major

7fr 7fr 6fr 7fr

! D-7 F©± B13b9 E-7 (C^9)

In this example, melodic minor modes are used. Note the E melodic minor producing an unusual #9 and !9 sound when used over
the C major chord. You may resolve this, or it may play a part in a longer line. It may also be useful if you are not yet ready
for a consonant sound in your improvisation.
Dorian Dorian A Melodic Minor C Melodic Minor E Melodic Minor
(F# Locrian "2) (B Altered) 8fr
7fr 7fr 9fr 9fr

! D-7 F-7 F©± B7alt E-7 (C^9)

Musical considerations:
I have included scale diagrams in the examples, but that in no way means one must utilize them in a scaler fashion. You can break
them up into sequences and their inherent triads. You can outline each chord progression using apeggios, with or without passing
notes and extension tones. The melodic minor scales and modes can simply be implied with the minor-major 7th arpeggio, or the IV or
V chord from the mode.
One could also consider these substitutions as musical waypoints in the context of a line, not forgetting that guide-tones
may also play a part in defining them.
Substitutions can be simplified by thinking of the end point of the harmony, the resolution point, in this case an E-7 chord. You

! F-^7 ! F©± ! B13b9 ! E-^7 (C^©9)

are then free to take whatever route you wish to this point. Sometimes it is fun to take the scenic route...

' #"
D-7 &#
# # # $# # # # #
# $# $# # & # #
! # # &# # $# # "
13 (E+ arp from scale) (Major triads from
diminished scale)