Jazz Blues Chord Subs

[joeasi]

Matt thanks for the lessons. I don't work through ever lesson as they're usually over my head. This lesson was timely for me as I have been using ii, V changes in my blues "blues" progressions.

I have something I need clarified. The 4th example is F7, Bb7, F7, F#m7, B7. The last 2 chords you say are ii, V. I don't see it. I'm some what familiar with the concepts presented. I realize B7 is a tri-tone (b5). The F#m7 is reharmonization of B7? I see that the F#m7 is a 5th higher than B7. Is that the relationship? Like back cycling?

I've tried to determine a chord sub relationship and I can't seem to figure this out.

[m78w]

Hey Joe,
Thanks for checking out the lesson. Anytime you have a dominant chord, like B7, you can pair it up with it's relative iim7 chord. So if you think of B7 as V7, then the iim7 chord that goes with it is F#m7 to produce a iim7-V7 progression, which is this case resolves down a half-step to Bb7 in bar 5. That's all it is.

you also see this kind of thing with the tonic chord in bar 4. So instead of just playing F7 in bar 4 to Bb7 in bar 5, guys will play Cm7-F7 in bar 4, making a iim7-V7 progression that resolves to the Bb7 in bar 5. So the first four bars of a blues could also be:

F7/Bb7/F7/Cm7 F7

With the iim7 V7 in bar 4.

Hope that clears things up for ya!

[joeasi]

Thanks Matt I think it did clear it up. I realized the relationship of the F#m7 and the B7. I just didn't take it to is conclusion, which I guess was obvious now that I look back. Its the iim7-V7 for E, I was trying to figure it out within the key of F. You called them a ii-V, I should have figured it out from there.

So the B7 is a b5 sub for F7, and the B7 is then used as the V in a iim7-V7 change. Is that considered re-harmonization? Or is there another term other than chord substitution?

I'll do a similar thing in a basic I,IV,V blues progression before going to the V. I'll play an F#7 for 2 beats before the E7 in the 9th bar. Many of these rules will apply to a 12 bar blues without out sounding like a jazz tune. I think the tension is nice before resolving to the I.

[m78w]

Yep that's it. I call it a iim7-V7 because that's the root movement, it just doesn't resolve down a 5th to E, instead by a 1/2 step to Bb7. I think it's a sub if you put it in during a solo or comping in the moment, but if you write or arrange a tune with those chords placed there, to be played each chorus, then it's a reharm.

[brwnhornet59]

I see you snuck the back door turn around. Great stuff as always Matt!

[guelda]

Thank you very much Matt, I already looked for such a topic some time before but didn't find one as precise as yours. Great work ! Thank you very much for sharing my friend

[m78w]

Glad you dug the lesson, thanks for checking it out!

[bigdaddyguitar]

Great lesson !!! Thank you so much . Bookmarked your site , lots of homework . Thanks .

[m78w]

Glad you liked it, have fun checking it out!

[paco can]

Wes bless you.

[the*doctor]

thanks for all the great ideas!
I was directed here from another thread when I asked about spicing up my blues playing.

Cheers

[m78w]

No problem doctor, glad you dug it!

[jdaguitar2]

Thank You!

[m78w]

No problem!

[paynow]

Just discovered this thread Matt. Great lesson, as usual. I"m going to start using that Ted Greene progression.

Recently I picked up Vic Juris's "All About Jazz" instructional DVD and he spends some time with different blues variations, including working in the Trane changes. You're right; not easy to play through but definitely sounds great.

[m78w]

Thanks man, yeah Vic is great for teaching all this stuff. Enjoy the article and Vics material!

[brwnhornet59]

Hey Srinjay,


Here is a few examples of rootless F9 shapes based off of an F9 chord. The first chord I wrote is F9 with an F in the root. All others will be rootless inversions. Notice that the rootles F9 is also is an A-7b5. By voicing off of the 3-9 concept, which is playing the chord a diatonic 3rd above the V chord, (A-7b5), you get, 3rd, b7, 9, 5. or, 3-9. With this shape you can add the D note and get a rootless F13, by playing D instead of C.

Also notice that the rootless F9 is also a C-6 chord as well as A-7b5. C-6 is the 1st inversion of A-7b5. Lots of synonymous sounds going on.

[tab]

Rootless F9 & F13 built off of the F9 shape

--8-------8--------10------------------------
--8-------8---------8-------------------------
--8-------8---------8-------------------------
--7-------7---------7-------------------------
--8-------x---------x-------------------------
--x-------x---------x-------------------------



When using this sub for a dom, you can go to the chord built from the Doms, b7. So we are using Eb as the root, which happens to be Lydian, (#4), in the key of Bb. So now these forms will give you the 9/13 as well.

3-9 chords and arps are great ways to spice up the tune as well as utilize shapes you already know.

Rootless F13 shapes.

--x----3---5---10----11---------------------------
--8----3---4---8-----10---------------------------
--7----2---7---8-----12---------------------------
--7----1---5---7-----12---------------------------
--6----x---x---x------x----------------------------
--x----x---x---x------x----------------------------

All of these shapes can be used as rootless F13 subs. Make sense?

[brwnhornet59]

Ahhh.. The answer to that question is absolutely YES!