Substituations: How About You From: reed kotler "How About You" by Burton Lane is a very nice tune. The original sheet music changes of the first four bars are: G | G/b Bbdim | Ami7 | D7 | G ... There are several approaches here. The G/B chord is essentially a Bmi7 chord with an G replacing the F#. Essentially the chord functions as if it's root were a B (instead of just the bass note being a B). So for reharmonization purposes it can be approaced by an F#7 (V) or in this case we use C7. G6 C7 | Bmin7(#5) Bbdim | Ami7 | D7 | G6... Since we've set up this two chord per measure harmony in the first two bars, we use some little tricks to give the illusion that that is happening in the next two bars. G6 C7 | Bmin7(#5) Bbdim | Ami7 Ami(maj7) | D7sus D7 | G6... Another option here is to just walk down from #ivmi7b5, ivm6, ... A common device used by jazz musicians. C#min7b5 Cm6 | G/B(add9) Bbdim | Ami7 Ami(maj7) | D7sus D7 | G6 ... The next four in the sheet music are: G6 | G/B F# | Bmi7b5 | E7 | A7 ... I treat the next four essentially as the first four. G6 C7 | Bmin7(#5) Bbdim | Bmi7b5 | E7 | A7 ... The next four bars in the sheet music are: A7 | Cmi6 | D6 G6 | | Bmaj7 Here we have quite a few interesting options. The A7 can be replaced by C#mi7b5 because it provides a logical walkdown again. The A7 is nice here too so. (A7 = A C# E G, C#mi7b5 == C# E G B with no root). Cmi6 can also be Cmi6 F7 or Eb7 D7 perhaps. The last two bars are an ineffective resolution to G. One try is A7 | Cmi6 F7 |Ami7 D7sus | G6 | Bmaj7 This is essentially the way the chord progression is going however now the modulation to B is not very convincing. Instead we add a turnaround consistent with the melody. A7 | Cmi6 |Ami7 D7sus | C#mi7b5 F#7 | Bmaj7 This works because we don't really miss the G6 because it was heavily implied by the preceding chords. The next four in the sheet music are: B/F# | F#7sus4 F#7 | B | Ami7 D7 | G6 You will notice that I didnt represent the B as B/F#. The B/F# was a feeble attempt at providing a logical bass motion transition from the G chord. What we can do here is to delay arriving at the B immediately and instead sub iii7 for the I (a common device and we get). D#mi7 G#mi7 | C#mi7 F#7 | B | Ami7 D7 | G6 Once again I find the transition back to the key of G somewhat smooother by adding as sequnce of V7 to the Amin7. D#mi7 G#mi7 | C#mi7 F#7 | B7 E7 | Ami7 D7 | G6 So the first sixteen is basically (though there are several variations I gave): G6 C7 | Bmin7(#5) Bbdim | Ami7 | D7 | C#mi7b5 Cmi6 | Bmin7(#5) Bbdim | Bmi7b5 | E7 | A7 | Cmi6 F7 | Ami7 D7sus | C#mi7b5 F#7 | D#mi7 G#mi7 | C#mi7 F#7 | B7 E7 | Ami7 D7 | Then we essentially have the first four bars again so. G6 C7 | Bmin7(#5) Bbdim | Ami7 | D7 | The the original sheet music for the next four bars is: Dm7/G | | Cmaj7 | Cmi | G Notice that the cmi is mr. minor plagal cadence turning back to here. We have iv - ivm - I. This is precisely how "Just Friends" in G starts. Note that in this tune we see the minor plagal cadence before the jazz musicians has turned it into a dominant chord. I leave this pretty much alone except adding the F7 chord. Dm7/G | | Cmaj7 | Cmi6 F7 | G The next four in the original sheet music are: G | Eb7 | Ami | B7 | We spruce this up with several devices. First placing the ii7 in front of the dominants. G | Bbmi7 Eb7 | Ami | F#mi7 B7 | Replacing I with iiim7 and adding the dominant works fine here. I.e. G replace with Bmi7/E7. Bmi7 E7 | Bbmi7 Eb7 | Ami | F#mi7 B7 | To smooth out the bass line we add an Ami/G Bmi7 E7 | Bbmi7 Eb7 | Ami Ami/G | F#mi7 B7 | The last four bars in the original sheet music has really weak resolution chords to G. Original chords are: Em Em/D | C D7 | G | | We just place a ii7 in front of D7. Em Em/D | Ami7 D7 | G | | Then obviously the Em going to its V7 works here. Emi7 A7 | Ami7 D7 | G | | So we have in total: G6 C7 | Bmin7(#5) Bbdim | Ami7 | D7 | C#mi7b5 Cmi6 | Bmin7(#5) Bbdim | Bmi7b5 | E7 | A7 | Cmi6 F7 | Ami7 D7sus | C#mi7b5 F#7 | D#mi7 G#mi7 | C#mi7 F#7 | B7 E7 | Ami7 D7 | G6 C7 | Bmin7(#5) Bbdim | Ami7 | D7 | Dm7/G | | Cmaj7 | Cmi6 F7 | Bmi7 E7 | Bbmi7 Eb7 | Ami Ami/G | F#mi7 B7 | Emi7 A7 | Ami7 D7 | G | | [end reed] Frank Hamilton : How about / G C7#11 / Bm7 Ab13 / Am7-Bm7 C6-C#dim7 / D9 D7-9 / [end Frank [end How About You]