| LearnJazzPiano.com archives: Substitution Method | |
| Hush -- 12/15/2006, 13:01:08 -- #31735 | |
| Hi, I found this interesting post in Aebersold Forum. ------------- A method i use For organizing chord substitute information so it makes sense to me is based on the diminished chord. As you probably know the diminished chord repeats at every minor 3rd interval so that if you move each tone up or down 3 half steps the notes repeat but in a different order. This powerful fact has great implications and use. If you modify one tone up or down in the diminished chord, 3 notes or 75% remain the same. Now if you move the modified chord in minor 3rds, each chord will still have 3 notes in common. Any chord that has 3 notes in common offers substitution potential. Here's an example: Start with a diminished chord. Lower one tone a half step and notice that the new chord is a dominant seventh chord.Now move that new chord up in minor 3rds and write down the other chords you get. You'll get four dominant 7th chords, all with three notes in common. those 4 dominant 7th chords have a relationship to each other due to their common tones and can be used as substitutes for each other in a progression. Now raise a tone a half step in the diminished chord. when you do this you will find that you get a dominant 9th chord. Again that chord can be moved in minor 3rds to get a total of four chords that have potential to substiutue for each other. Play with each tone in a diminished chord until you see this concept. | |
| anacephalic -- 12/16/2006, 07:47:09 -- #31735 | |
| The note you drop to get the dom 7th ends up being the root. you can also modify other voices in the dim chord to generate maj 7, minor chords, and as indicated above 9ths. Pat Martino, (jazz guitar player) uses modification of the dim chord form and the aug chord form as a basis of accessing all useable chord voicings on a guitar. discussion of this topic in Just Jazz.com archives and in a past issue of guitar player mag provide interesting insight on his views pertaining to chord interchangability. Martino's visual system for guitar voicings proabably has limited milage on the piano but his comments on common tones with in chords driving the interchangeble use of those chords shoud be pretty universal | |
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