-
Just wanted to say that the OP looks interesting, but I also can't understand the examples because of the symbols and (are they) mistakes?
So I'm looking forward to the corrected list.
-
03-20-2025 09:13 AM
-
I think it reads as Ukena suggested in his post (#10) -- Chord substitution ideas for solos
Originally Posted by supersoul
That is, the ? symbol means "to" (>), except for the examples below, the meaning of which is unclear.
4. Secondary Dominants:
Introduce a V7 of a non-tonic chord.
Example: Instead of C > F, play C > A7 > D-7 > G7 > C.
Don't know what he means by a "non-tonic chord." A subdominant chord? Any chord other than the I chord?
10. Modal Interchange:
Borrow chords from parallel modes.
Example: Instead of C > G7 > C, try C > Bbmaj7 > C (borrowed from C Mixolydian).
This suggestion doesn't make much sense, G7 functions as the V7 chord in this example, you can't replace it with just any chord from a parallel mode.
This error below has already been mentioned:
9. Modal Interchange for Added Colors:
Borrow from other modes.
Example: Over Cmaj7, use chords from C Lydian (Dmaj7, E7, Amaj7).
Superimpose these triads/arpeggios to hint at different tonalities.
Equivalent C Lydian chords would be: D7 (not Dmaj7), Em9 (not E7), Am6 (not Amaj7).
-
This is what happens when you prepare something in one app and try to post it in another, especially one as simple as this one. Bosko should have checked before he finally submitted it. How could he have missed all those question marks?
Here's his list again. It reads clearly now but it doesn't mean that the content is completely right. He'll have to review that himself.
--------------------------------------
1. Relative Minor Substitution
Replace a major chord with its relative minor (vi).
Example:
Cmaj7: A-7
GM7: E-7
Works because they share three common tones.
2. ii-V-I Reharmonization
Replace a dominant (V7) with a ii-V motion.
Example: Instead of G7 - C play D-7/G7 - C.
3. Tritone Substitution
Replace a dominant V7 with another dominant 7th chord a tritone away.
Example: Instead of G7 - C play Db7 - C.
Works because G7 (G-B-D-F) and Db7 (Db-F-Ab-Cb) share the 3rd and 7th, which define the chord.
4. Secondary Dominants
Introduce a V7 of a non-tonic chord.
Example: Instead of C/A-7 - D-7/G7 - C play C/A7 - D-7/G7 - C.
5. Chromatic Passing Chords
Use chromatic dominant 7th chords to smooth motion between chords.
Example: Instead of G7 - C play Ab7/G7 - C.
6. Diminished Passing Chords
Insert a diminished 7th chord between two chords a whole step apart.
Example: C/C#°7 - D-7/G7 - C.
7. Parallel Minor Substitution (Borrowed Chords)
Borrow chords from the parallel minor key.
Example: Instead of C - A-7 - D-7 - G7 play C - Amaj7 - D-7 - G7.
8. Coltrane Changes
Introduce median-based substitutions (root movements by major 3rds).
Example: Instead of G7 - Cmaj7 play Emaj7/Abmaj7 - Cmaj7.
9. Minor iv Substitution
Replace a IV chord with a minor iv (iv7).
Example: Instead of C - F - C play C - F-7 - C.
10. Modal Interchange
Borrow chords from parallel modes.
Example: Instead of G7 - C try Bbmaj7 - C (borrowed from C Mixolydian).
Using chord substitution concepts in soloing can add color, tension, and movement to your lines. Some ideas to experiment with:
1. Tritone Substitutions for Outside Playing
Instead of playing over the given dominant chord, improvise using the tritone sub.
Example: Over G7 - Cmaj7 play over Db7 instead of G7.
Scale Choice: G7: G Mixolydian (G-A-B-C-D-E-F) , Db7: Db Lydian Dominant (Db-Eb-F-G-Ab-Bb-B)
This creates outside tension that resolves back to the I chord.
2. Upper Structure Triads for Modern Sounds
Outline upper structures of chords rather than basic chord tones.
Example: Over Cmaj7, instead of playing a Cmaj7 arpeggio use an E minor triad (E-G-B). Highlights Cmaj7’s 3rd, 5th, and 7th.
Use a G major triad (G-B-D). Emphasizes the 5th, 7th, and 9th.
3. Playing Over Implied ii-V-I Instead of Static Chords
Even if the chart has a static chord, imply a II-V-I.
Example: Over Cmaj7 superimpose a D-7 - G7 motion.
This makes your solo feel more harmonically active.
Try targeting F (D-7’s 3rd), B (G7’s 3rd), and E (Cmaj7’s 3rd).
4. Diminished Passing Substitutions for Chromaticism
Instead of playing a dominant chord, use a diminished passing chord.
Example: Over G7 use B°7 (B-D-F-Ab).
This creates chromatic movement leading to the next chord.
5. Using Parallel Minor for a Darker Sound
Borrow from the parallel minor key.
Example: Over Cmaj7, use C Aeolian (C-D-Eb-F-G-Ab-Bb) for a darker feel.
This can create a bluesy/modal effect.
6. Superimposing Secondary Dominants
Instead of a basic II-V-I, insert secondary dominants.
Example: Over a D-7 - G7 - Cmaj7 progression: play A7 (V of D-7) over D-7 and D7 (V of G7) over G7.
This implies movement and adds tension-resolution cycles.
7. Coltrane Changes for Unexpected Motion
Instead of resolving directly to the I chord, insert median substitutions.
Example: Over G7 - Cmaj7, use Coltrane changes: Emaj7/Abmaj7 - Cmaj7.
This widens the harmonic space and gives a modern edge.
8. Side-Stepping for Tension
Move a half-step up or down from the original harmony.
Example: Instead of soloing over G7, play lines as if you were in Ab7, then resolve back.
9. Modal Interchange for Added Colors
Borrow from other modes.
Example: Over Cmaj7, use chords from C Lydian (Dmaj7, E7, Amaj7).
Superimpose these triads/arpeggios to hint at different tonalities.
10. Using Arpeggios from Substituted Chords
Instead of playing a basic arpeggio, use an arpeggio from a substitution.
Example: Over G7 - Cmaj7 play: B°7 arpeggio (B-D-F-Ab) over G7 and E-7 arpeggio (E-G-B-D) over Cmaj7.
This brings in altered sounds without explicitly playing altered scales.
When soloing over fast tempos in jazz you can simplify progressions using these techniques:
1. Guide Tones (3rds & 7ths)
Instead of outlining full chords, focus on the 3rd and 7th of each chord.
These two notes define the chord quality and help smooth out voice leading.
Example over a II-V-I in C: D-7 (F & C) - G7 (B & F) - Cmaj7 (E & B)
2. Chord Tone Targeting
Instead of playing scales over each chord, target strong chord tones (1-3-5-7).
Example over G7 - Cmaj7: Play B - C to emphasize the resolution.
3. Arpeggio Simplification
Instead of playing a full arpeggio per chord, use one shape over multiple chords.
Example: Over II-V-I (D-7 - G7 - Cmaj7) use a D-7 arpeggio for both D-7 and G7, resolving into a Cmaj7 note.
4. Pentatonic & Blues Scale Substitutions
The minor pentatonic can work over multiple chords.
Example: Over II-V-I (D-7 - G7 - Cmaj7) play A minor pentatonic (A-C-D-E-G), which fits over all three.
The blues scale works too: G7 - Cmaj7. Try a G blues scale (G-Bb-C-Db-D-F).
5. Upper Structure Triads
Use simple triads to imply more complex harmonies.
Example over G7:
Instead of a full G7 arpeggio (G-B-D-F), play a B diminished (B-D-F) or D major triad (D-F#-A).
6. Motif Development
Develop a small idea (3-5 notes) and repeat it with slight variations.
Works great over fast tempos since it keeps your playing cohesive.
7. Bebop Enclosures
Instead of spelling out full changes, use chromatic approach notes.
Example over G7 resolving to Cmaj7:
Target E (Cmaj7's 3rd) by playing D#-F-E.
8. Playing Over Larger Chunks (Ignoring Passing Chords)
Instead of playing over every chord in a II-V-I-VI, simplify it to a single scale.
Example in C Major: D-7 - G7 - Cmaj7 - A7
Just play C major scale.
9. Rhythm and Space
At fast tempos, less is more. Leave space and use rhythmic displacement to make lines sound more natural.
10. Thinking in Key Centers
Instead of thinking of every chord separately, think of broader harmonic areas.
Example: II-V-I in C. Just think C major and resolve your lines on strong chord tones.
-
Ragman, you changed this entry that I'd quoted verbatim: Originally Posted by ragman1
4. Secondary Dominants
- Introduce a V7 of a non-tonic chord.
- Example: Instead of C ? F, play C ? A7 ? D-7 ? G7 ? C.
4. Secondary Dominants
Introduce a V7 of a non-tonic chord.
Example: Instead of C > F, play C > A7 > D-7 > G7 > C.
{Apparently he's trying to say: add the V7 of a subdominant chord - F (IV chord), Dm7 (iim7 chord), etc.}
Re: 7. Parallel Minor Substitution (Borrowed Chords)
Borrow chords from the parallel minor key.
Example: Instead of C - A-7 - D-7 - G7 play C - A?maj7 - D-7 - G7.
It's Abmaj7, not Amaj7 - the ? in this instance was obviously meant to be a flat (b) sign, since Abmaj7 is borrowed from C minor, although Ebmaj7 would be a more common borrowed sub there.
- Introduce a V7 of a non-tonic chord.
-
Yes Originally Posted by Mick-7
Secondary dominant - sometimes called applied dominant? Secondary chord - Wikipedia
-
But is there a difference between these two suggestions? Originally Posted by Christian Miller
4. Secondary Dominants
Introduce a V7 of a non-tonic chord.
Example: Instead of C > F, play C > A7 > D-7 > G7 > C.
6. Superimposing Secondary Dominants
Instead of a basic II-V-I, insert secondary dominants.
Example: Over a D-7 - G7 - Cmaj7 progression: play A7 (V of D-7) over D-7 and D7 (V of G7) over G7.
This implies movement and adds tension-resolution cycles.
-
Yeah in the first example you add in a secondary dominant before the chord and in the second you superimpose it on the chord. Originally Posted by Mick-7
-
I'm having trouble seeing how that would make sense - subbing A7 for Dm7 and D7 for G7. It's a completely different tonality. Originally Posted by Christian Miller
-
The former is pretty easy to see if the transcriptions of 60s hard bop dudes and earlier. Rather than thinking of chord substitution as Chord plus Chord equals Big Chord (tm … that’s right, Christian, it’s mine now) … they’re often substituting whole functional progressions. Like Bb Bdim Cm C#dim might sub in for Bb G7 Cm F7, even though the C#dim is nonsense over an F7 chord (I use that example because it’s easy to hear that one exactly at the end of Grants third chorus on Green St and, in true Grant fashion, he just serves it right up on a silver platter. But there are tons and tons of examples of this, particularly on progressions we tend to chunk together — quick ii-Vs, turnarounds, four and backs.) Originally Posted by Mick-7
The second one is super common in its harmonic form in mechanical voicing and Barry Harris and that sort of thing. It’s pretty standard fare arranging to harmonize non chord notes with some sort of dominant functioning chord to the prevailing harmony. People do this in single note lines all the time. Particularly in longer sections of one harmony (opening to How High, or I’ll Remember April, Softly). Maybe seems to be more common in minor? Don’t know about that though, it might just be what I’ve seen.
-
Yeah, but superimposing A7 over Dm7 and D7 over G7? That's quite a harmonic stretch! But I suppose we should focus on the principles he's catalogued and overlook any poor examples he gave of their application. Originally Posted by pamosmusic
-
I don't know what to tell you. Originally Posted by Mick-7
It's super common and something you've heard a thousand times if you listen to big band music or bebop.
Dm7 ---- G7 ---- C
becomes
A7 - Dm7 - D7 - G7 - C
-
Right, but the second example said to replace the Dm7 with A7 and the G7 with D7, not precede them with those secondary dominants. What you've suggested is no different than his other example, is it? Originally Posted by pamosmusic
Maybe they are the same but he expressed the second concept as: "play A7 (V of D-7) over D-7 and D7 (V of G7) over G7."
-
He didn't say "replace." Originally Posted by Mick-7
Implying movement and adding tension-resolution cycles implies that he's playing A7 over part of the D-7 and not over the whole thing.6. Superimposing Secondary Dominants
Instead of a basic II-V-I, insert secondary dominants.
Example: Over a D-7 - G7 - Cmaj7 progression: play A7 (V of D-7) over D-7 and D7 (V of G7) over G7.
This implies movement and adds tension-resolution cycles.
And no, not really the same thing ...
I would imagine, in this case, rather than playing a I - IV - I movement, he's tossing in a turnaround instead. A different way of moving away from and back to I.4. Secondary Dominants
Introduce a V7 of a non-tonic chord.
Example: Instead of C > F, play C > A7 > D-7 > G7 > C.
Writing isn't super clear on this, but the meaning seems fairly reasonable from context.
-
o.k., his wording is confusing.... to me, superimposing chords over chords and inserting chords are two different things. Originally Posted by pamosmusic
"6. Superimposing Secondary Dominants - Instead of a basic II-V-I, insert secondary dominants.
Example: Over a D-7 - G7 - Cmaj7 progression: play A7 (V of D-7) over D-7 and D7 (V of G7) over G7"
And again, the above doesn't sound different than this, same chord changes:
"4. Secondary Dominants - Introduce a V7 of a non-tonic chord.
Example: Instead of C > F, play C > A7 > D-7 > G7 > C."
-
I tell you this, he's going to do an awful lot of refunding :-) Originally Posted by Bosko
If you find any typos or errors I will refund your purchase
-
In #6 he's inserting chords into a progression and in #4 he's completely replacing one progression with another. Originally Posted by Mick-7
-
So many theory/improv threads turn into Green Eggs and Ham
Sent from my iPhone using Tapatalk
Reply With Quote
1957 Höfner Club 50 renovation
Today, 03:30 PM in Guitar, Amps & Gizmos