A short note about chord progressions in jazz

Chords can be combined in any way imaginable, but in jazz some special rules apply, apart from the free forms of jazz of course. Many chord progressions in the older compositions are written in a standard  fashion, i.e. there are some basic patterns where one chord relates to the next in some specific way. Often, a progression that gives an impression of forward motion is chosen. Following circle of fifths in counter-clockwise motion is a great example of that kind of progression, e.g. Cmaj  E7  A7  D7  G7  Cmaj :

Nevertheless, each chord leaves room for some modifications, the so-called chord substitution, where the chord in the original progression is replaced by other chord(s). Chord substitution is an important aspect of jazz studies, and can also be applied in rock. In our studies, many chord substitution techniques are covered.

Another important part of chord progressions is the chord distribution in music, or harmonic rhythm. Often, the chords are organized in a very regular and continuous pattern, which might result in a progression of two chords in one measure, or one chord per measure, or one chord per two or four or eight measures. Such assemblies can also be combined into larger blocks, where one part of the composition contains one harmonic rhythm pattern, and the other block exposes a different, contrasting pattern:

Block 1: Cmaj  Cmaj  A7  A7  D7  D7  G7  G7
or
Block 2: Fmaj  F#dim  C/G  A7  D7  G7  Cmaj  G7:

Notice the usage of Fmaj7 chord in the first bar (substituted for Fmaj), maybe not that common in the early days of jazz, but still OK &

At the end of a musical block of four or eight measures, playing the last chord over the last two measures often breaks a steady pattern of progression:

D7  G7  Cmaj  Cmaj

This information is best studied when analysing jazz songs. Look how the structure of the song, in respect to the harmonic rhythm, is constructed. Which chords belong to the standard progressions, and which ones are substituted for other chords? Apply what you ve learned to your own compositions.

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