Jazz is a genre known for its rich harmonies and expressive musicality. It uses chords to create various moods, colors, and tensions, driven by the rhythm and the way the chords are arranged. 

In this Jazz sounding chord progressions tutorial, we will explore some jazz-sounding chords and progressions that you can use to spice up your music while learning some music theory along the way. This Jazz chords guide will cover different chord types and progressions using music theories and ideas used throughout Jazz.

Check out more of our Jazz Tutorials for music production, if your looking for other Jazz production tips, including drum programming and walking baselines.

For other music theory help you can check out our music theory for music production page. 


What makes Chord Progressions sound Jazz? 

Jazz loves tension and dissonance. Chords that use unstable Intervals (Tritones, Augmented chords) and Chord Progressions that use less resolution chords (I and V). The most common progression in Jazz is the ii-V-I, by ending on the resolution chord (I) the progression can easily turn around and transition to a different chord sequence. Making Turn-arounds so easy can result in longer and more sophisticated chord progressions which define the distinct sound of Jazz. 


Chord Types and Progression Ideas 

Here are some different ideas on ways to approach Jazz sounding chord progressions:  

1. ii-V-I: The Famous Jazz Standard 

This is arguably the most fundamental progression in jazz. This chord sequence typically involves minor, dominant, and major chords respectively to create forward motion from the dominant chord's pull toward the tonic. Experiment with adding 7ths, 9ths, and other extensions to bring different flavors. For example, a Dm7 - G7 - Cmaj9 progression has a warmer, more resonant sound compared to the simpler Dm - G - C.  

Major and Minor Keys ii-V-Is are equally common. Cm7 - F7 - Bbmaj7 progression has a characteristic melancholy, perfect for a late-night jazz ballad. Minor key ii-V-I offers expansive harmonic possibilities - try adding altered tensions like #9 or b13 to make the V chord extra bold.   


2. 12 Bar Blues: Soulful Foundations 

The 12-bar blues progression (I-IV-V) forms the basis of many jazz standards. These progressions aim to bring soulfulness and emotion, from sweet and mellow to aggressive and gritty. Varied interpretations of this familiar framework encapsulate jazz's nuanced expressivity. The basic structure contains I, IV, and V chords but experiments with adding sixths, sevenths, tritones, and other dissonant tones to stretch the blues to its expressive limits.  


3. Coltrane Changes: Dissonant Innovation 

This unpredictable progression uses chromatic movements and altered chords to create a dissonant yet intriguing sound.  

Musician and composer John Coltrane pioneered these dense, rapidly shifting chord progressions using constant chord substitutions, chromatic sections, and intense altered tensions. For example, try: Dm7 - G7sus - Cmaj7/G - Ebmaj7 - Bb7(alt) - Fmaj7. The unpredictability keeps listeners on edge! 


4. Turnarounds: For Seamless Transitions 

A Turnaround is used to mark the end of a progression, phrase or idea which then allows the music to move on to something else. The Jazz standard ii-V-I ends on the Root (I) chord which makes it very easy to transition between sections of a song or to an additional chord progression. 


5. Tritone Substitutions: Spicing Up Harmony 

Tritone chords are extremely dissonant, previously known as the Devil intervals. Replacing a V chord with its tritone substitute can add sophistication and tension to the progression.  


6. Modal Interchange: Tonal Exploration 

Modal interchange involves borrowing chords from related keys. Experiment with this technique to introduce captivating tonal shifts within your progression. It's a tool for exploring different emotions within a single piece.   


7. ii-V-I Substitutions: Harmonic Flexibility 

Substituting the V chord in a ii-V-I progression introduces harmonic flexibility.  


8. Slash Chords: Bass-Infused motion 

Adding a bass note extension to a chord (e.g., Cmaj7/G) creates a richer harmonic texture and opens up new improvisational possibilities. Experiment with different bass notes to create a richer sound. This can open new avenues for melody direction while expressing a creative voice.  

These are just a few examples of the many popular and versatile chord progressions used in jazz. As you delve deeper into the genre, you'll discover countless other variations and combinations that contribute to the unique and expressive vocabulary of jazz music.  

Remember, the key to utilizing these progressions effectively lies in understanding their function, experimenting with different variations, and using them as a springboard for your own creative expression.  


Chord Progression Examples


Here ae some example chord progressions which use these Jazz chord progression concepts and ideas.  

Classic Major: Dm7 - G7 - Cmaj7 (This standard progression exemplifies the strong pull of V to I.)  

Minor Swing: Cm7 - Gm7 - Cmaj7 (Substituting V with its b2 creates a bluesy swing feel.)  

Tritone Substitution: Dm7 - C7 - Fmaj7 (Replacing V with its tritone adds spice and complexity.)  

Coltrane Changes: Dm7 - G7sus4/C - Cmaj7/G - Abmaj7 - G7♭9 - Cmaj7 (Chromatic twists and altered dominants create a dissonant journey.)  

Modal Interchange: Dm7 - Fmaj7 (Lydian) - G7 - Cmaj7 (Borrowing from C Lydian adds a bright flavor.)  

Latin Groove: F#m7 - B7 - Emaj7 (The flat-5 in the V chord adds a Latin swing.)  

Extended Dominants: G#m7 - C7(b9) - Fmaj7 - Bbmaj7 (Adding extensions to V creates richness and tension.)  

Slash Chords: Dm7/C - G7/B - Cmaj7sus4/F (Smooth bass line movement adds elegance.)  

Chromatic Approach: Bbmaj7 - Am7(b5) - G7 - Cmaj7 (Descending chromatically to the V adds drama.)  

Turnaround Surprise: Cm7 - Fm7 - Abmaj7 - Gm7 - Cmaj7 (Unexpected chords in the turnaround create intrigue.)  



II V I Chord Progressions  


Cmaj7 | Dm7 G7 Cmaj7: This is the classic II V I progression in C major, a cornerstone of jazz harmony. 

Dm7 G7b9 Cmaj7 | Abmaj7 | Dbmaj7 G7b9 Cmaj7: This adds a deceptive cadence with the Abmaj7, creating a touch of suspense before resolving back to C. 

F#m7 B7 Em7 A7sus4 A7 Dm7 G7 Cmaj7: This takes a detour through the relative minor (B minor) before returning to the tonic. 

Bm7 E7 Am7 D7 Gm7 C7 Fmaj7 Bbmaj7: This explores chromaticism with the Gm7 C7 progression, adding a modal feel. 

Dm7 G7 Cmaj7 | Dm7 G7 Cmaj7 M7(b5)b5 Am7 D7b9 G7 Cmaj7: This repeats the II V I with a twist, using a tritone substitute (M7(b5)b5) to add tension. 

Em7 A7 Dm7 G7 Cmaj7 | F#m7 B7 Em7 A7 Dm7 G7 Cmaj7 (sus4): This adds a bit of swing with the suspended chord at the end. 

Cm7 Fm7 Gm7 C7 Fmaj7 | Dm7 G7 Cmaj7 | Bm7 E7 Am7 D7 Gm7 C7 Fmaj7: This weaves through multiple minor ii V progressions, showcasing harmonic movement. 

Abmaj7 Dbmaj7 G7b9 Cmaj7 | Gm7 C7 Fmaj7 | Dm7 G7 Cmaj7: This uses slash chords (Abmaj7/Db) for a fuller sound and modulates briefly to F major. 

Fmaj7 Gm7 C7b9 Fmaj7 | Bbmaj7 Ebmaj7 Abmaj7 Dbmaj7 G7b9 Cmaj7: This explores extended dominant chords (C7b9) and key changes through the circle of fifths. 

Em7 A7 Dm7 G7 Cmaj7 | Cmaj7/G Dm7 G7sus4 G7 Cmaj7: This ends with a twist, using a V7sus4 to build anticipation before resolving to the tonic. 



12 Bar Blues for Jazz Exploration:  


Classic 12-Bar: Fmaj7 - Bbmaj7 - C7 - Fmaj7 - Fm7 - Bbmaj7 - C7 - Fmaj7 - Dbmaj7 - Gbmaj7 - C7 - Fmaj7 (This standard progression offers flexibility for improvisation and soloing.)  

Minor Blues: Cm7 - Fm7 - G7 - Cm7 - Cm7b5 - Fm7 - G7 - Cm7 - Abmaj7 - Gbmaj7 - G7 - Cm7 (This minor variation adds a darker, introspective mood.)  

Swing Blues: Fmaj7 - Bb7 - Cmaj7 - Fmaj7 - Gm7 - C7 - Fmaj7 - C7sus4 - Fmaj7 - Bbmaj7 - C7 - Fmaj7 (The added C7sus4 and swing rhythm create a bouncy feel.)  

Tritone Substitution: Fmaj7 - Gb7 - Cmaj7 - Fmaj7 - Fm7 - C7 - Ab7 - Dbmaj7 - Gbmaj7 - C7 - Fmaj7 (Replacing the IV chord with its tritone adds a spicy and complex flavor.)  

Turnaround Twists: Fmaj7 - Bbmaj7 - C7 - Gm7 - C7sus4 - Dm7 - G7 - Cmaj7 (An unexpected turnaround with Gm7 and C7sus4 adds intrigue.)  

Chromatic Descent: Bbmaj7 - Abmaj7 - Gm7 - Fmaj7 - Bbmaj7 - Fm7 - G7 - Cmaj7 (Descending chromatically through the bass line creates a dramatic and bluesy effect.)  

Slash Chords: Fmaj7/C - Bbmaj7/G - C7/E - Fmaj7/C - Fm7/Bb - Bbmaj7/G - C7/E - Fmaj7/C - Abmaj7/Db - Gbmaj7/C - C7/E - Fmaj7/C (Slash chords add smooth bass movement and harmonic richness.)  

Extended Dominants: Fmaj7 - Gb7(b9) - Cmaj7 - Fmaj7 - Fm7 - G7(alt.) - Cmaj7 (The altered and extended dominants create tension and harmonic depth.)  

Modal Interchange: Fmaj7 - Dm7 (Dorian) - G7 - Cmaj7 (Borrowing from D Dorian adds a bright and jazzy flavor.)  

Blues Meets Latin: Fmaj7 - Bbmaj7 - C7 - Fmaj7 - Dm7 - Bbmaj7 - E7(b9) - Am7 - Fmaj7 - Bbmaj7 - C7 - Fmaj7 (Combining blues with a Latin-inspired dominant adds a unique twist.)  


 

Inspired by Coltrane Changes:  


Fm7 - B♭7 - E♭maj7 - Ebmaj7/G - Abmaj7sus4 - G7♭9 - Cmaj7: This classic Coltrane sequence adds chromatic passing chords and altered tensions before resolving to the tonic.  

Dm7 - G7sus4/C - Cmaj7/G - Gbmaj7 - Bbmaj7 - F7♭9 - Bbmaj7: This progression descends chromatically with slash chords and altered dominants, creating a dark and introspective mood.  

Em7 - A7sus4/D - Dmaj7/F# - Bm7(b5) - E7alt - Am7: This adventurous sequence features altered dominants, a chromatically ascending bass line, and a tritone substitution for added spice. 

Gm7 - C7sus4/F - Fmaj7/Ab - Dm7(b5) - G7♭9/Cb - Gbmaj7 - Cmaj7: This complex progression uses extended dominants, chromatic passing chords, and borrowed chords from various modes, creating a dissonant and intriguing sound.  

Am7 - D7sus4/G - Gmaj7/C - Fmaj7 - Cm7(b5) - Bb7alt - Em7: This sequence features slash chords, a chromatically descending bass line, and altered dominants in a minor key, creating a melancholic yet expressive mood.  

Dm7 - G7alt - Cmaj7♭9 - F♯m7 - B7♭9 - Emaj7: This progression utilizes multiple altered dominants and a chromatic movement through minor chords, creating a dissonant but harmonically rich sound.  

Em7 - A7/D - Dm7(b5) - G7sus4/C - Cmaj7/G - Abmaj7 - G7♭9/Eb - Dbmaj7: This adventurous sequence combines chromatic movements, slash chords, and extended dominants across multiple keys, creating a complex and unpredictable flow.  

Gm7 - C7sus4/F - Fmaj7/Ab - Dm7(b5) - G7♭9/Db - Gbmaj7 - C♯m7 - F7#9 - Bbmaj7: This chromatic descent features altered dominants, chromatic passing chords, and a minor ii-V sequence for added tension and release.  

Am7 - D7alt - Gmaj7♭9 - C♯m7 - F7♭9 - Bm7(b5) - E7alt - Am7: This progression features multiple altered dominants in both major and minor keys, creating a dissonant and expressive journey.  

Dm7 - G7sus4/C - Cmaj7/G - Bbmaj7 - Abmaj7 - Gm7 - C7sus4/F - Fmaj7/Ab - Dm7(b5) - G7♭9 - Cmaj7: This complex sequence combines Coltrane-inspired chromatic movements with modal borrowings and a returning Coltrane sequence, creating a harmonically rich and captivating journey.  


  

Tritone Substitutions:  


Cmaj7 - Dm7(b5) - G7 (C#7 tritone sub) - Cmaj7: This classic adds a bluesy twist with the tritone-substituted G7.  

Am7 - Fmaj7 - E7 (Bb7 tritone sub) - Am7: Borrowing the Bb7 adds tension and resolves smoothly to the minor tonic.  

Dm7 - G7 - Cm7(b5) (F#7 tritone sub) - Fmaj7: This progression replaces the V with its tritone sub, then uses another tritone sub to return to Dm7.  

Em7 - A7sus4 - Bm7 (E7 tritone sub) - E7 - Am7: The tritone-substituted Bm7 creates a darker turn before leading back to the dominant-tonic resolution.  

Gm7 - C7 - Dm7 (Ab7 tritone sub) - G7 - Cmaj7: This adventurous sequence features multiple tritone substitutions, creating a complex and shifting harmony.  

Fmaj7 - Bbmaj7 - Gm7(b5) (Eb7 tritone sub) - Cmaj7sus4 - Cmaj7: The tritone-substituted Gm7(b5) adds intrigue before a smooth resolution to the tonic.  

Dm7 - G7sus4 - Fmaj7 (Bb7 tritone sub) - A7sus4 - Dm7: This progression suspends the V chord before replacing it with its tritone sub, creating a sense of anticipation.  

Em7 - B7 - Am7(b5) (D#7 tritone sub) - Bm7 - E7 - Am7: This complex sequence uses multiple tritone substitutions, including one within a ii-V-i progression.  

Cmaj7 - Fmaj7 - Dm7(b5) (Ab7 tritone sub) - G7 - Dm7: This progression borrows the Ab7 tritone sub from the Phrygian mode of C major, adding a modal flavor.  

Am7 - D7 - Gm7 (C#7 tritone sub) - C7sus4/F - Fmaj7 - E7 - Am7: This adventurous sequence features a tritone-substituted V7sus4 with an altered bass note, creating a dissonant but intriguing sound.  



Slash Chord Examples: 


ii-V-I with Slash Chords:  

Dm7/G - G7 - Cmaj7: This classic progression adds a smooth bass line movement from D to C via the G7sus4 chord.  

Em7/A - B7/E - Em7/D: This minor progression adds a bit of tension with the B7/E slash chord leading chromatically back to Em7/D.  


Turnarounds with Slash Chords:  

Cm7/Bb - Fm7/Ab - Gbmaj7: This turnaround descends chromatically, creating a melancholic mood with the slash chords emphasizing the bass movement.  

A7/D - Dm7/C - Gmaj7: This turnaround uses slash chords to connect the chords smoothly and create a jazzy swing feel.  


Modal Interchange with Slash Chords:  

Dm7/C - G7/F - Cmaj7: This progression borrows chords from the Dorian mode of C major, adding a modal flavor with the Dm7/C and G7/F slash chords.  

Am7/G - F#m7/E - Bm7/D: This progression borrows chords from the Lydian dominant mode of D major, creating a bright and ethereal sound with the slash chords.  


Advanced progressions with Slash Chords:  

Cmaj7/G - Am7/D - Bm7(b5)/E - E7/G#: This progression uses a tritone substitution with a slash chord, creating a complex and chromatic movement.  

Dm7/F - G7sus4/C - Cmaj7(b9)/G - A7/D: This progression incorporates an extended harmony chord with a slash chord, adding a lush and sophisticated sound.  


Suspense with Diminished Chords: 


Use diminished chords to introduce tension and build suspense. Diminished chords are versatile and can lead to unexpected resolutions. 

iiø7 - V7 - I with Diminished Passing Chords: 

| Dm7♭5 G7♭9 | Dm7 G7 | Cmaj7 | 

Minor iiø7 - V7 - i with Diminished Transition: 

| Bm7♭5 E7♭9 | Am7 Abdim7 | Gm7 C7 | Fmaj7 | 


Rhythm Changes with Diminished Substitution: 

| Bm7♭5 E7♭9 | Am7 D7 | Gm7 Abdim7 | Gm7 C7 | 


ii-V-I with Diminished Passing Chords: 

| Em7♭5 A7♭9 | Dm7 G7 | Cm7 F7 | 

Minor iiø7 - V7 - i with Diminished Altered V: 

| Gm7♭5 C7♭9 | Fm7 F♯dim7 | B♭m7 E♭7 | Am7 | 


Turnaround with Diminished Passing Chords: 

| Dm7 Abdim7 | G7 G♯dim7 | Cm7 F7 | 


ii-V-I with Diminished Substitution in Minor Key: 

| Dm7♭5 G7♭9 | Cm7 C♯dim7 | Fm7 B♭7 | 


Bluesy Progression with Diminished Chords: 

| C7 | % | G7 G♯dim7 | Cm7 F7 | 


Modal Interchange with Diminished Passing Chords: 

| Em7 A7♭9 | Dm7 G7♭9 | Cmaj7 C♯dim7 | Dm7 G7 | 


Minor ii-V-i with Diminished Transition and Altered V: 

| Gm7♭5 C7♭9 | Fm7 F♯dim7 | Bm7♭5 E7♭9 | Am7 | 


Quartal and Quintal Harmony:


Instead of stacking thirds, try stacking fourths or fifths to create quartal or quintal harmony. This can result in a more open and modern sound.

Quartal Harmony Modal Progression: 

| Dm11 | G7sus4 | Cmaj9 | 


Quintal Harmony Turnaround: 

| Gsus4 | Csus4 | Fmaj9 | B♭maj9 | 


Quartal Voicings in ii-V-I: 

| Dm11 | G7sus4 | Cmaj9 | 


Quintal Harmony Bluesy Progression: 

| Csus4 | Fsus4 | G7 | C7sus4 | 


Quartal Altered Dominant Progression: 

| Bm7♭5 E7sus4 | Am11 D7sus4 | Gm11 C7sus4 | 


Modal Interchange with Quintal Harmony: 

| Em11 | A7sus4 | Dmaj9 | Gmaj9 | 


Quartal Harmony in Rhythm Changes: 

| B♭maj9 | E♭maj9 | Am11 | D7sus4 | 


Quintal Harmony Floating Progression: 

| Fsus4 | Csus4 | G7sus4 | D7sus4 | 


Quartal Harmony Modal Vamp: 

| Dm7sus4 | G7sus4 | Cmaj9 | 


Quintal Harmony ii-V-I with Altered Dominant: 

| Gm11 | C7sus4 | Fm11 | B♭7sus4 | 


Secondary Dominants: 


Use secondary dominant chords to create a sense of movement and tension. For example, use V/V (the dominant of the dominant) to lead into a chord. 

Classic ii-V-I with Secondary Dominant: 

| Dm7 A7 | Dm7 G7 | Cmaj7 | 


Turnaround with Secondary Dominant: 

| Dm7 A7 | Gm7 D7 | Gm7 C7 | Fmaj7 | 


Bluesy Progression with Secondary Dominants: 

| C7 | A7 | Dm7 G7 | C7 | 


Modal Interchange with Secondary Dominants: 

| Em7 E7 | Am7 A7 | Dm7 D7 | Gmaj7 | 


ii-V-I in Minor Key with Secondary Dominant: 

| Bm7♭5 E7 | Am7 D7 | Gm7 C7 | Fm7 B♭7 | 


Rhythm Changes with Secondary Dominant Progression: 

| Bm7 E7 | Am7 D7 | Gm7 C7 | Fm7 B♭7 | 


Quartal Harmony with Secondary Dominant: 

| Dm11 A7 | Gm11 D7 | Cmaj9 | 


Secondary Dominant Floating Progression: 

| Cmaj7 E7 | A7 Dm7 | G7 Cmaj7 | 


Minor ii-V-i with Secondary Dominant: 

| Gm7 E7 | Am7 D7 | Gm7 C7 | Fm7 | 


Turnaround with Secondary Dominant Altered V: 

| Dm7 A7♭9 | Gm7 D7♭9 | Gm7 C7 | Fmaj7 | 


Modal Interchange: 


Experiment with borrowing chords from parallel keys or modes. Modal interchange can add unexpected and captivating twists to your progressions. 

Chords borrowed from parallel keys or modes to add unexpected and captivating twists: 

Modal Interchange in a Classic ii-V-I: 

| Dm7 D♯dim7 | G7 G♯dim7 | Cmaj7 | 


Turnaround with Modal Interchange: 

| Am7 A♭maj7 | Dm7 D♯dim7 | G7 G♯dim7 | Cmaj7 | 


Bluesy Progression with Modal Interchange: 

| C7 Cm7 | F7 Fm7 | G7 G♯dim7 | Cmaj7 | 


Modal Interchange with Tritone Substitution: 

| Dm7 D♯dim7 | G7 G♯dim7 | Cm7 F7 | 


Minor ii-V-i with Modal Interchange: 

| Gm7 G♯dim7 | Am7 A♭maj7 | Dm7 D♯dim7 | G7 | 


Rhythm Changes with Modal Interchange: 

| Bm7 B♭maj7 | E7 E♭maj7 | Am7 A♭maj7 | D7 | 


Quartal Harmony with Modal Interchange: 

| Cmaj7 E♭maj7 | A♭maj7 G♯dim7 | Cmaj7 | 


Modal Interchange Floating Progression: 

| Fmaj7 Fm7 | B♭maj7 B♭m7 | E♭maj7 E♭m7 | A♭maj7 | 


Minor ii-V-i with Altered Dominant and Modal Interchange: 

| Gm7 G♯dim7 | C7 Cm7 | Fm7 F♯dim7 | B♭7 | 


Turnaround with Modal Interchange Altered V: 

| Dm7 D♯dim7 | G7 G♯dim7 | Gm7 C7♭9 | Fmaj7 | 


Chromatic Movement: 


Incorporate chromaticism by moving between chords in half steps. This adds tension and interest to your progression 

Adding tension and interest through the use of half-step transitions: 

Chromatic ii-V-I Progression: 

| Dm7 D♯m7 | G7 G♯7 | Cmaj7 | 


Bluesy Chromatic Turnaround: 

| C7 C♯7 | F7 F♯7 | G7 G♯7 | C7 | 


Modal Interchange with Chromatic Movement: 

| Am7 A♭m7 | Dm7 D♭m7 | G7 G♭7 | Cmaj7 | 


Chromatic Passing Chords in ii-V-I: 

| Bm7 B♭m7 | E7 E♭7 | Amaj7 | 


Chromatic Altered Dominant Progression: 

| Gm7 G♯m7 | C7♭9 C♯7♭9 | Fm7 F♯m7 | B♭7♭9 | 


Chromatic Floating Progression: 

| Cmaj7 C♯maj7 | Fm7 F♯m7 | B♭7 B7 | E♭maj7 | 


Turnaround with Chromatic Diminished Passing Chords: 

| Dm7 D♯dim7 | G7 G♯dim7 | Cm7 C♯dim7 | Fmaj7 | 


Chromatic ii-V-I in Minor Key: 

| Gm7 G♯m7 | C7 C♯7 | Fm7 F♯m7 | B♭m7♭5 | 


Chromatic Passing Chords in Rhythm Changes: 

| B♭maj7 Bmaj7 | E♭m7 E7 | Am7 A♭m7 | D7 | 


Chromatic Modal Vamp: 

| Dm7 D♯m7 | G7 G♯7 | Cm7 C♯m7 | Fmaj7 | 


Altered Chords: 


Experiment with altered chords by adding extensions or changing certain notes. Altered chords can introduce a jazzy and sophisticated feel.

Altered ii-V-I Progression: 

| Dm7♭5 G7♭9 | Cmaj7♯11 | 


Turnaround with Altered Dominant Chords: 

| G7♭9 G7♯9 | Cm7♭5 F7♯9 | B♭maj7♯11 | 


Bluesy Progression with Altered Dominant: 

| C7♯9 | Fm7♭5 B♭7♯9 | Cm7♭5 F7♯9 | B♭maj7♯11 | 


Modal Interchange with Altered V: 

| Dm7 G7♯5♭9 | Cmaj7♯11 | 


Altered ii-V-i in Minor Key: 

| Gm7♭5 C7♭9♯11 | Fm7♭5 B♭7♯9♯11 | Ebmaj7♯11 | 


Altered Floating Progression: 

| Cmaj7♯11 E7♯9♭5 | Am7♭5 D7♯9 | Gm7♭5 C7♭9 | Fmaj7♯11 | 


Chromatic Passing Chords with Altered Dominant: 

| Dm7 G7♭5♯9 | Cm7 F7♭5♯9 | Bm7♭5 E7♭5♯9 | Am7 | 


Altered ii-V-I in Major Key: 

| Bm7♭5 E7♭9♯11 | Amaj7♯11 | 


Altered Dominant Floating Progression: 

| G7♯9♭5 Cm7♭5 | F7♯9 B♭m7♭5 | E♭7♭9♯11 Am7 | 


Altered Modal Vamp: 

| Dm7♭5 G7♭5♯9 | Cm7♭5 F7♭9♯11 | B♭m7♭5 E♭7♭9♯11 | Am7♭5 | 


Feel free to use these progressions as a foundation and experiment with your own variations. These ideas add a sophisticated and unpredictable quality to jazz progressions, providing a unique and expressive flavor to compositions or performances. 

I hope you found this a useful resource for understanding how to write Jazz sounding chord progressions. For help on how to work out the notes of these chords please use our Chord music theory tutorial, or see our other music product tutorial for other tips and advice. 

For Help with Jazz music production I would highly recommend checking out our best Jazz Sample pack which is recorded in the highest quality studios with session musicians and includes a 7 min multi-track arrangement.