The Jazz Guitar Chord Dictionary
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  1. #1

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    I was wondering what common chord substitutes you use. I have read about the tritone substitute, and I know that diminished can substitute a Dom 7. What are other common ones?

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    2 - 5

    1- 6

    1- 3

    Dominant for minor (D7 for Dm7)

    #dim for Dom (G#dim for G7)

    and subbing Majors for Majors (CM6 for CM7), minors for minors (Dm6 for Dm7), Doms for Doms (D13 for D7), etc.
    Last edited by Drumbler; 10-19-2011 at 07:19 AM.

  4. #3
    Back cycling (approaching chords from a 5th above) is really common as a sub. For example, instead of just holding that I chord forever, make it a vi-ii-V-I. When playing through tunes, look at the turnarounds. These are always basically back cycling subs for I.

    Sometimes they have a tritone sub thrown in. You can sub the tritone for any of these chords to give some variety.

    vi-ii-V-I
    vi-ii-bII-I
    vi-bVI-V-I
    vi-bVI-bII-I
    etc.

    Look at tunes for examples and variations on these.

    Also, diatonic subs are easy. For example, on a sustained I, sub I-ii-iii-ii-I.

  5. #4

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    You can often add a secondary dominant (a dominant chord a fifth above the target chord)
    Code:
    Cmaj7 |     |Ami7
    
    Becomes
    
    Cmaj7 | E7   | Ami7
    You can often change a V (or a V/x (5 of any chord) to a ii-V:
    Code:
    Cmaj7 |  E7   | Ami7
    
    becomes
    
    Cmaj7 | Bm7  E7 | Ami7
    
    or
    
    Cmaj7 | Bmi7b5  E7 | Ami7
    Then as you mentioned you can use tritone subs:

    Code:
    Cmaj7 | Bmi7b5  E7 | Ami7
    
    becomes
    
    Cmaj7 | Bmi7b5  Bb7b5 | Ami7
    Last edited by fep; 10-19-2011 at 10:12 AM.

  6. #5

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    Quote Originally Posted by fep
    Code:
    Cmaj7 | Bmi7b5  E7 | Ami7
     
    becomes
     
    Cmaj7 | Bmi7b5  Bb7b5 | Ami7
    fep: In the last line, should it not be just Bb7 right before Ami7? Just curious if the b5 is required or necessary on the dom chord.

  7. #6
    Thanks guys. Whatswisdom, in tritone sub you switch the 3rd and 7th (the third is now the 7th) and you fill in the root and 5th. I don't see why it couldn't be a b5.

  8. #7

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    Quote Originally Posted by S_R_S5
    Thanks guys. Whatswisdom, in tritone sub you switch the 3rd and 7th (the third is now the 7th) and you fill in the root and 5th. I don't see why it couldn't be a b5.
    Right, I know tritone sub. Just checking to confirm that the b5 (Fb) is optional.

  9. #8

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    Also, I've always though of it as a #4 instead of b5 (as it implies a lydian dominant sounds AFAIK). But it seems that the latter is the most common way to denote these chords. The notes are exactly the same, of course.

  10. #9

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    Quote Originally Posted by fep

    Cmaj7 | Bm7 E7 | Ami7

    or

    Cmaj7 | Bmi7b5 E7 | Ami7
    [/CODE]

    Then as you mentioned you can use tritone subs:

    Code:
    Cmaj7 | Bmi7b5  E7 | Ami7
    
    becomes
    
    Cmaj7 | Bmi7b5  Bb7b5 | Ami7


    The Bb7#11 keeps the voice leading quality intact with the symmerty of C-B-Bb-A. Also the E,#11, keeps the parent key beautifully.

    After all it is the tritone sub of E7, III7. I would voice it exactly like Fep suggested!!
    Last edited by brwnhornet59; 10-20-2011 at 10:39 AM.

  11. #10

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    OP:

    What let us know a tune that you are working on, and we can probably be a little more helpful. :-)

  12. #11

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    Well, considering you're the only one on stage, you don't have to worry about stepping on other musician's toes as far as harmony goes. I reccomend experimentation.

  13. #12

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    Quote Originally Posted by matt.guitarteacher
    Back cycling (approaching chords from a 5th above) is really common as a sub. For example, instead of just holding that I chord forever, make it a vi-ii-V-I. When playing through tunes, look at the turnarounds. These are always ba

    I have to ask, how is vi a fifth from the I chord? isn't it a third down?

    This is why Circle of Fifths is so mysterious to me.

  14. #13

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    Quote Originally Posted by CarolM
    I have to ask, how is vi a fifth from the I chord? isn't it a third down?

    This is why Circle of Fifths is so mysterious to me.
    Let's take this in C as an example; vi ii V I would be:

    Am7 Dm7 G7 CMaj7

    Cycling backwards (it is called back cycling for a reason!)
    1. G is a 5th above C.
    2. D is a 5th above G
    3. A is a 5th above D.

  15. #14

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    Back cycling in 5ths simply means that you are playing down in 5ths from each chord.

    In a vi ii V I, you will notice that each chord is a 5th down, (or a 4th above), the next chord.

    I like subbing the iii chord for the I.

    iii vi ii V I.

    If you wanted you could make each chord a dom you can.

    E9 A9#5 D9 G9 CM7

    III9 VI9#5 II9 V9 I
    Last edited by brwnhornet59; 12-19-2011 at 03:16 PM.

  16. #15

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    I quite like the Bm11 in here

    CM7 l Bm7b5 Bm11 Bb7b5 l Am7
    Last edited by bigbyte; 12-21-2011 at 07:40 AM. Reason: Clarity

  17. #16

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    Quote Originally Posted by BigDaddyLoveHandles
    Let's take this in C as an example; vi ii V I would be:

    Am7 Dm7 G7 CMaj7

    Cycling backwards (it is called back cycling for a reason!)
    1. G is a 5th above C.
    2. D is a 5th above G
    3. A is a 5th above D.


    That seems to approach it backwards...but I will work on it tonight. I actually had the hang of this on guitar at one time, playing some old time stuff with a ukelele player. It will come back.
    Last edited by CarolM; 12-21-2011 at 02:23 PM.

  18. #17

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    Quote Originally Posted by CarolM
    Ok - but you're starting on the relative minor, then the cycling begins - ?

    After that point, I do get it. Thanks.
    You can back cycle as much as you want -- this implies you can start anywhere:

    G7 CMaj7
    or
    Dm7 G7 CMaj7
    or
    Am7 Dm7 G7 CMaj7
    or
    Em7 Am7 Dm7 G7 CMaj7
    or
    ...

    I kept it in C there. As back cycling gets longer, folks tend to jazz up the chords more; for example using E7 instead of Em7.

  19. #18

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    A simple little substitution I really like is when you have the common progression:

    I-V-vi-IV (key A)
    Amaj-Emaj-F#m-Dmaj

    You can replace the IV with Gmaj9

    I dont' know why this works, (maybe someone else knows?) but I basically just took the IV of D Which is G and put it in the bass, then i realized it was just Gmaj9.

    This usually works for anytime I go to the "IV" chord, just take the IV of THAT chord and put it in the bass.

    Very simple and sounds cool to me at least

  20. #19

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    GM9 is the IV of D. GM9 is a sub for D6 and visa versa.

    GM9 and D6 are also subs for B-7, the ii of A, and the vi of D.

    You are using modal interchange to sub GM9.

    If you included the b13, (G), in the B-7 you would be implying D.
    If you included the 13, (G#), you are implying A.

    Throw the G in the bass on this chord, XX4435. GM9

    Now throw the G# in the bass. Hear it? G#-7b5, another sub for B-add6 or E Dom.

    Lots of fun. You can play with one note at different intervals and imply many tonalities very easily.

  21. #20

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    Quote Originally Posted by brwnhornet59
    GM9 is the IV of D. GM9 is a sub for D6 and visa versa.

    GM9 and D6 are also subs for B-7, the ii of A, and the vi of D.

    You are using modal interchange to sub GM9.

    If you included the b13, (G), in the B-7 you would be implying D.
    If you included the 13, (G#), you are implying A.

    Throw the G in the bass on this chord, XX4435. GM9

    Now throw the G# in the bass. Hear it? G#-7b5, another sub for B-add6 or E Dom.

    Lots of fun. You can play with one note at different intervals and imply many tonalities very easily.
    Hmmmmmm sounds interesting. I'm gonna have to try this! thank you! I have no clue what modal interchange is, but I like it! Something new to read up on!

    Thanks bro!

  22. #21

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    Modal interchange is what allows you to borrow or substitue chords, scales, (note collections), from one tonal center and use in another. It is very common and can get as deep as you want. You should apply this to MM and HM as well. You will see that this idea is used constantly in writing. Even the Beatles used it in their own way.
    Last edited by brwnhornet59; 12-31-2011 at 12:54 PM.

  23. #22

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    Quote Originally Posted by brwnhornet59
    Modal interchange is what allows you to borrow or substitue chords from one tonal center and use in another. It is very common and can get as deep as you want. You may apply this to MM and HM as well. You will see that this idea is used constantly in writing. Even the Beatles used it in their own way.
    yeah seems like you could come up with almost endless possibilities....i'm definately gonna read up on this and use it more, cuz i LOVE that sound.

    I

  24. #23

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    Quote Originally Posted by brwnhornet59
    Modal interchange is what allows you to borrow or substitue chords from one tonal center and use in another. It is very common and can get as deep as you want. You may apply this to MM and HM as well. You will see that this idea is used constantly in writing. Even the Beatles used it in their own way.
    Yeah it seems like you could come up with almost endless possibilities. SOmething i'm def gonna look into cuzi LOVE that sound. I play it in church a lot cuz the chord progressions get kinda boring! lol

  25. #24

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    Yeah, try applying those ideas in your soloing. The chords do not have to be present for you to infer them.

  26. #25

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    Quote Originally Posted by brwnhornet59
    Yeah, try applying those ideas in your soloing. The chords do not have to be present for you to infer them.
    hhmmm woulda never thought of that, thanks AGAIN!