LearnJazzPiano.com archives: NEW RULES

Mike -- 10/16/2006, 00:04:31 -- #30489

1.)Given we can use the voicing Ab D G for  a F minor chord we will recognize that as the same voicing often used for Bb7... a well recognized quartel voicing.  So really we are substituting Bb7 for F minor 2.)We recognize there is an old rule that states the chord a tritone away from a dominant seven chord can be substituted for any dominant 7 chord.   So in this example  E7 can be substituted for Bb7. 3.) If this is so it must follow that we can substitue the minor chord up a tritone from any mionr chord ... in this case B minor and the same voicing used for E7 ... D G# C#. 4.)following this same logic we can find that using diminished theory and the 4 tonic system that Ab minor (Db7) and D minor (G7) can also be substituted for F minor.

Jazz+ -- 10/16/2006, 11:11:09 -- #30489

Nice outline, but I don't know that it can be cosidered something new.

Mike -- 10/16/2006, 18:50:51 -- #30489

really I have never seen the rule before. "you can subtitute the minor chord a tritone away for any mionr chord" You have seen that before or been taught that before?

SolArt -- 10/17/2006, 05:23:16 -- #30489

I have indeed read it before.

Jazz+ -- 10/17/2006, 13:48:13 -- #30489

Please give clearer examples for #3 and #4.

SolArt -- 10/18/2006, 02:56:41 -- #30489

I take back what I said. I have read a m7 can be followed by a m7 a tritone away.

7 -- 10/18/2006, 08:40:46 -- #30489

It depends on whether you are talking about composition or improvisation. In a compositional sense, it is entirely feasible to substitute the minor chord a minor third either above or below, ex: Substitute an Abm for Fm This yields an Fm7b5 kind of flavor to the original Fm Substitute Dm for Fm This turns the Fm into an F6 kind of feel. Changing the quality of chord does not change the inherent tendencies of its root motion. As regards tritone substitutions with respect to minor chords (or any chords for that matter), the root motion tendencies remain the same no matter the quality of chord. So while a Bm (or Bdim7 or B7 or B whatever) is a perfectly valid substitution for any kind of F chord IN A COMPOSITION, you'd probably find yourself into deep doo-doo if you tried to spring that sub in the middle of a jam session.

Jazz+ -- 10/18/2006, 09:31:32 -- #30489

"m7 can be followed by a m7 a tritone away. " You'll see that as part of a ii V reharmonization a tritone away. As in Autumn Leaves (bars 5-8) Ordinarily A-7 b5 |  D7  | G-  |    | with ii V tritone sub: A-7 b5 D7 |  Eb-7 Ab7 | G- |    |

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