Rhythm Changes Jazz Guitar Chord Study

The Study

The A section of rhythm changes is built on a sequence of ii–V–I progressions that move quickly through the tonic and related keys.

This chord study explores the use of inverted voicings to improve voice leading, along with common inverted chord voicings and substitutions to add harmonic color and continuity.

The goal is to develop a flexible, functional approach to the A part that supports both comping and improvisation.

Firstable, here is the basic chord progression on which is based the exercise :

B♭maj7 | G7(♭9) | Cm7 | F7 | B♭maj7 | G7(♭9) | Cm7 | F7 |

B♭maj7 | B♭7 | E♭maj7 | E♭m7 | Dm7 | G7(♭9) | Cm7 | F7 |

Related to the following degrees :

Imaj7 | VI7 | iim7 | V7 | Imaj7 | VI7 | iim7 | V7

Imaj7 | V7/IV | IVmaj7 | ivm7 | iiim7 | VI7 | iim7 | V7 |

 

Inverted Chords And Substitutions

Here is a bief analysis of the study :

Bar 1 : 

B♭maj7 is replaced by B♭6/9

G7♭9 is replaced with Ddim, this is what we call a “diminished substitution“

Playing a dim7 chord on the chord tones of a dominant 7 chord emphasize the ♭9. 

Bar 2 :

Cm7 (drop 2) is voiced with the ♭3 in the bass.

The fifth of F7 is altered and the ♭7 is in the bass.

Bar 3 :

Dm11 in place of Dm7

Ddim7 for G7♭9 again.

Bar 4 : 

Cm11.

Cdim7 for F7♭9 (diminished substitution).

Bar 5 :

Fm7 (drop 2) with ♭7 in the bass.

B♭7 (drop 2) with 3 in the bass.

Bar 6 :

E♭maj7

E♭m7 (drop 2) with ♭7 in the bass.

Bar 7 :

Dm11

G7#9 in place of G7♭9 to bring a bit of tension.

Bar 8 :

Cm11

F7♭5#9 wich can also be seen as Fm7♭5.