This is a resource for learning to hear jazz chord progressions. Most jazz standards move through different major and minor tonal centers as the song progresses. Listening to songs that contain the same or similar chord progressions and tonal center shifts, can help learning to recognize them.
Chord Progressions and Tonal Shifts
Example of a Chord Progression
| Gm7 / C7 / | F / / / |
Example of Chord Progressions with Tonal Shifts
| Gm7 / C7 / | F / / / | Bm7 / E7 / | A / / / | Gm7 / C7 / | F / / / |
In the first example there is no tonal shift (modulation). The basic tonality stays as F major.
In the second example the tonality shifts (modulates) from F major to A major and then back to F major.
For example; The song "I Love You" shifts (modulates) from the key of F major to A major at bar 12 thru 16, then back to F major at bar 17. This web page contains a list of tunes that have similar tonal progressions going to A major. Clicking on #49 (3maj) brings up a list of songs that at some point contain a shift of the key center into 3maj. Clicking on the individual song from the list brings up the chord changes of that tune with the progression or tonal shift highlighted. Many tunes appear on a number of lists.
The purpose of this comparison of similar tonal shifts and chord progressions is to help the jazz player hear and improvise on progressions in any key. These progressions are linked to the "Vanilla Book" (which will still be notated in the original standard key).
Understanding tonal center movement is important for improvising. If you understand that the "Have You Met Miss Jones" bridge shifts (modulates) from F (1maj) through the tonal centers of Bb major (4maj), to Gb major (b2maj), to D major (6maj), to Gb major (b2maj), and finally back to F major (1maj), it becomes much easier to improvise (and if necessary, transpose).
Note: I've used (b2), (b3), (b5), (b6), (b7), to be consistant when altering tones, but recognize that the enharmonic equivalents (#1) (#2) etc., can and should be used when appropriate.
1 major
1maj
#1dim 2m7
#2dim 3m7
1maj
#1dim 2m7
57
1maj
1+
4 #4dim
1maj
17 4
#4dim
1maj
17 4
4min
1maj
2m7 3m7
2m7
1maj
2m7 3m7
b3dim
1maj
37 2min
1maj
37 4maj
27 57
1maj
37 4maj
1maj
37 67
27 57
1maj
37 67
2min
1maj
37 67
4min
1maj
37 6min
27
1maj
3min7b5 67
1maj
47
1maj
4min
1maj
67 27
57
1maj
67 2m7
57
1maj
67 4maj
4min
1maj
67 7m7b5
37
1maj
6m7 2m7
57
1maj
77 1maj
1maj
77 37
67 27
57
1maj
b77 67
1maj b77 67 27 57 ( I - bVII7 - VI7 - II7 - V7 )
1maj 4maj ( I - IV )
1maj 1m7 ( I - Im7 )
1maj 1min ( I - Im )
1maj 27b5 ( I - II7b5 )
1maj
6m7 3m7
( I - VIm7 - IIIm7 )
1 minor
1min
( Im )
1 dom 7th
17 4maj ( I7 - IV )
17
4maj 37
6min 27
17
4maj 67 2min
17
47 b77
b37 57
17
4min
17
77
b77 67
17+
( I7+ )
2 major
2maj
(
II )
2 minor
2min ( IIm )
2min 6min ( IIm - VIm )
2m7
57
down in whole steps
2m7
5m7
2m7b5
57
( IIm7b5 - V7 )
2 dom7th
27
27
57
27
b27 1maj
( II7 - bII7 - I )
3 major
3 minor
3min ( IIIm )
3m7
67 27
2m7 57
3m7
67 2m7
57
3m7
b37 2m7
b27 1maj
3m7
b3m7 2m7
57
3m7b5
67
3m7b5
67 2m7b5
57
3m7b5
67 2min
2m7 57
3m7b5
67 4maj
4min
3 dom7th
37
4maj 4min
37
67 27
57
( III7 - VI7 - II7 - V7 )
4 major
4maj ( IV )
4maj #4dim 1maj ( IV - #IVdim - I )
4maj
4min
4maj
b6maj
4 minor
4min
4m6
( IVm6 )
4 dom7th
47
47
37 67
27
( IV7 - III7 - VI7 - II7 )
5 major
5maj ( IV )
5maj
6maj
( IV -
VI )
5 minor
5min ( Vm )
5m7
(
Vm7 )
5 dom7th
57+
57sus
( V7sus )
6 major
6maj ( VI )
6maj
5maj
( VI -
V )
6 minor
6min 2min ( VIm - IIm )
6min 27 ( VIm - II7 )
6min 3maj ( VIm - III )
6min
3min
( VIm - IIIm )
6 dom7th
67
67 27
57
67 4maj 4min
( VI7 - IV - IVm )
67 4maj
( VI7 - IV )
7 major
7maj
7maj
7 minor
7min ( VIIm )
7m7b5
37 6m7
27
( VIIm7b5 - III7 - VIm7 - II7I )
7 dom7th
77
77
37 67
27 57
( VII7 - III7 - VI7 - II7 - V7 )
Chromatically altered tonalities
b2maj
( bII )
b27 ( bII7 )
b27
b67 57
( bII7 - bVI7 - V7 )
b3maj
b3maj
b6maj b2maj
b3
min
( bIIIm )
b37
( bIII7 )
b3dim
( bIIIdim )
b5maj
( bV )
b6maj
b6maj
b5maj
( bVI - bV )
b67
b67
57
( bVI7 - V7 )
b7maj
(bVII )
b7min
(bVIIm )
b77
67
b77
67 27
b77
67 27
57
b77
67 2min
b77
67 b67
57
(bVII7 - VI7 - bVI7 - V7 )
Song
starts on 4 maj
( IV )
Song
starts on 4maj 4min
( IV - IVm )
Song
starts on 27
( II7 )
Song
starts on b67 57
( bVI7 - V7 )
6min
6min/maj7 6m7
6m6
Song
starts on 6min7
( VIm7
)
2m7 to 57 down in half steps ( IIm7 - V7 )
“
A “ section using
only 2m7 57 1maj ( no color chords)
( IIm7 - V7
- I )
Bridges
1maj
1
min
17
77 b77
67
( I7 - VII7 - bVII7 - VI7 )
2maj
( II )
2min
( IIm )
3maj
( III )
3min
( IIIm )
37
67 27
57
( III7 - VI7 - II7 - V7 )
4maj
4maj
1maj
4maj
2min
4maj
37 67
27 57
4maj
3maj
4maj
4min
4maj
5maj
4maj
b3maj
4maj
b6maj
( IV - bVI )
4maj
#4dim 1maj
( IV - #IVdim - I )
4min
( IVm )
47
( IV7 )
5maj
5maj
6maj
( V - VI )
5min
( Vm )
67
27 57
( VI7 - II7 - V7 )
6maj
6min ( VIm )
6min
2min
( VIm - IIm )
7maj
( VII )
7min
( VIIm )
Chromatically altered tonalities (Bridges)
b2maj
b27
( bII7 )
b3maj
( bIII )
b37
( bIII7 )
b5maj
( bV )
b6maj
b6maj
b5maj
( bVI - bV )
b67
( bVI7 )
b7maj
b7maj
5maj
dom
7ths down chromatically
( V7 )
2m7
57 down in whole steps
2m7b5
57 down in whole steps