The short progressions below are the building blocks of most jazz standards and all lead to a ii⁷ – V⁷ – I cadence. Combinations of these elements are used in countless jazz tunes and many classical and traditional compositions.

Note that many of the progressions contain nonfunctional parallel harmonic movement with parallel 5^ths. (See the chapter on Parallelism.)

Short Progressions in major

Diatonic

1.

A turnaround is usually based on four chords (I – vi⁷ – ii⁷ – V⁷). It often appears in measures 7 and 8 of an 8-measure formal unit. It can also be freely employed in other areas.

2. Submediant substitution (I^maj7 substituted with vi⁷)

3. Mediant substitution (I^maj7 substituted with iii⁷)

4a. Extended variants

4b. Extended variants

5a. Diatonic sequence in major

5b. Diatonic sequence in natural minor

Chromatic

6.

7a. Quality substitutions (ii⁷ = II⁷,  vi⁷ = VI⁷)

7b.

7c. 

8a.

8b.

9.

10a.

10b.

11.

12.

13a.

13b.

14.

Quality substitution

Note that m7 and m7(5) chords are interchangeable when forming a ii⁷ – V⁷ unit.

Examples:
Em7 – A7   =  Em7(5) – A7
Dm7 – G7   =  Dm7(5) – G7

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Examples with Extensions

Jazz chord progressions normally are indicated with basic seventh chords, but are voiced and dressed up in 5 voices with added 9^ths, 13^ths, and other extensions. These extensions allow for more colorful melodic choices.

Below are possible realizations of some of the above progressions.

Diatonic Example #1

I^maj7    |    ii⁷    V⁷   |   I

Diatonic Example #4

I^maj7     ii⁷   |    iii⁷    vi⁷   |   ii⁷    V⁷   |   I

Chromatic Example #13 (lower progression)

I     v⁷    I⁷    |   IV^maj7    iv⁷   VII⁷    |    I