In this article, I examine the nonfunctional harmony of three tunes from the mid-1960s by Wayne Shorter from the perspective of transformational theory. While some transformational approaches to jazz have taken the seventh or ninth chord as the basic unit, I use the more inclusive and abstract concept of a "chord scale" to encompass more of the pitches musicians may draw from when performing a harmony. Using Dmitri Tymoczko's theory of scale networks, I demonstrate how the tunes "E.S.P.,"

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... " and "Iris" travel through various chord-scale spaces. I then compare Shorter's solo improvisations to the networks expressed by the tunes, revealing the ways he draws on and departs from them in the process of performance.