Common Non-diatonic Harmonic Movements in Jazz

Tritone Substitution

This involves substituting a dominant seventh chord with another dominant seventh chord located a tritone (three whole steps) away. For example, in a II-V-I progression in C major (Dm7 – G7 – Cmaj7), the G7 chord can be substituted with Db7, resulting in Dm7 – Db7 – Cmaj7.

Chromatic Mediants

Chromatic mediants are chords that are a third apart and share no diatonic common tones. They often move by a major or minor third. For example, in C major, moving from Cmaj7 to Ebmaj7 or Amaj7.

Secondary Dominants

Secondary dominants are dominant chords that temporarily tonicize a chord other than the tonic. For instance, in C major, the V7 of V (D7) leads to G7.

Modulations

Temporary modulations or tonicizations to closely or distantly related keys create non-diatonic movements. A common example is moving from a C major progression to A major.

Parallel Minor

Switching between major and parallel minor keys can create rich harmonic variety. For example, in C major, moving to C minor (Cm7).

Borrowed Chords

Borrowed chords come from the parallel minor key. For example, in C major, borrowing chords from C minor can include Ebmaj7, Abmaj7, and Bb7. This technique introduces rich harmonic textures. Example in C major: | Cmaj7 | Abmaj7 | G7 | Cmaj7 |

Modal Interchange

Modal interchange, or modal mixture, involves borrowing chords from parallel modes. For instance, borrowing from C Mixolydian (C D E F G A Bb) can include Bbmaj7 and F7. Example in C major: | Cmaj7 | Bbmaj7 | F7 | Cmaj7 |

Augmented Sixth Chords

These chords, often used in classical music, also appear in jazz to lead into the dominant chord. The German augmented sixth (e.g., Ab-C-Eb-F# in C major) resolves to the G7 chord. Example in C major: Ab7 – G7 – Cmaj7

Neapolitan Chord

The Neapolitan chord (bII) is a major chord built on the flattened second degree of the scale. It typically appears in first inversion to lead into the dominant chord. Example in C major: | Db/F | G7 | Cmaj7 |

Extended Dominant Chains

Extended dominant chains involve a series of dominant chords resolving by descending fifths, often leading to a final resolution. Example in C major: | E7 A7 | D7 G7 | Cmaj7 |

Chromatic Passing Chords

Altered Dominant Chords

Altered dominants feature alterations (e.g., b5, #5, b9, #9) to add tension before resolving to the tonic. Example in C major: | G7#5 | Cmaj7 |

Coltrane Changes

Popularized by John Coltrane, these progressions move through keys by major thirds. In “Giant Steps,” the progression modulates between B, G, and Eb. Example