Watch the Measures 3-4 online guitar lesson by Robert Conti from Jazz Master 2
The chord progression presented here is the most widely used basic version of those changes. I also included a section of insights on the usage of substitution chords.
Please note that the transcribed solo will also function well over nearly any substitution chords that you choose, as alternates or simply derivatives of the original chords. I urge you to experiment continuously with the lines presented, as that activity will cause many unexpected discoveries and greatly enhance your understanding of advanced jazz improvisation.
As a general practice, I present a stock or sometimes called a vanilla version of a chord progression in learning materials that are directed toward single note improvisation playing, such as the specific content of this course. Occasionally, I will also include some of my favorite substitutions along with the stock version.
The reason that I prefer the stock or vanilla chord progression version is to allow you to hear the altered notes as they are played over non-altered chords, especially the Dominant 7th family of chords. While there is no cover-all rule for every situation, I can offer some basic insights that should be helpful to you.
As a general practice, for a simple major chord, you can almost always substitute a 6th, 6/9, ma7, ma9, ma13 in place of the major triad chord. In some instances, such as an extended or standard Blues progression, you can even use a Dominant 7th, 9th, 9#11, 11th or 13th in place of a major chord. As a preference, very often, I will also substitute Minor 7th chords with a m9 or m11.
A "plain" Dominant 7th chord may almost always be substituted very nicely with a Dominant 9th, 11th or 13th chord. In situations where there is a sequence of minor 7th to dominant 7th chords, the plain dominant 7th may be substituted with altered chords such as E7#5, E7#5b9, E7b9, E7#9. In some cases the plain dominant 7th may also be substituted with a Diminished chord with the root bass note a half step above the substituted 7th chord, e.g. Abdim in place of G7.
Again, while there is no hard rule to address every situation, there are two additional and extremely reliable safeguards that will always serve you very well:
1) Rely on your ears! If a line or a chord substitution does not sound quite right to you, rest assured that it will surely sound awful to others.
2) I always urge young or less experienced players to continuously experiment and avoid any state of mind that prohibits the exploration of new ideas. However, be sure to maintain a balance that always includes exercising good taste in your playing.