hey ljp.
i'm now diving into the wonderful world of chord substitutions.  i love the concept of them; creating a new tone derived from a chord.  so far i've learned tritone substitions, which i really like, and am now consistantly using in my improv.  however, i come to understand that there are more types of substitutions?  anybody care to share?  oh boy, i hope they're really complicated!  lol.


zz
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please go to "search ljp" and write: "substitute" selecting "files".
another substution that gets used a lot is a 3rd up or down from the original root.

ex:

common substitutes for cmaj are am and em
so in that case, 7, you would normally stay diatonic with the chord you are substituting for?  i'm told you don't need to tell you bass player about a tritone sub.  are there others that are this transparent?
i can dig that.  one of my first substitutions was going from dm7 to
d-f-g-b, then to gm
a few more common subs:

iv#m7b5 instead of i (e.g. f#m7b5 for c - example "i thought about you")

iii7 (or extended 7 eg 13) instead of i or iiim (for example in bar 7 of blues or bar 3 of rhythm changes, where the progression returns to some version of i, iii7 can be used to start the cycle of fifths in dominants).

the tritone sub (especially with altered 7 chords) is just one element of a family of diminished alternatives.  by which i mean c and its tritone f# are actually part of the series c - d# - f# - a (evenly-spaced notes spelling the cdim7 chord), all four members of which are roots of potentially interchangeable altered dominants, voicings and aesthetic judgement permitting.

in fact, you can take this even further and fit in the remaining notes of the hw diminished scale (making c c# d# e f# g a bb) and all the corresponding altered dominants can act as spacey outside-type substitutions.

sid
"

actually you can do some wild things with "3rd substitutions", they don't always have to be diatonic. an variety of chords with an ab root can also be subsituted for a chord with c root.  

the same holds true for eb rooted chords subbing for types of c.

good taste should be your guide whether composing or arranging.
my favorite substitutions are the 13-9  or 7-5 chords which can be substituted on all the roots of that chords diminished chord--especially on the v7 chord. e.g. when playing in c substitute the g7 with a g13-9, bb13-9, db13-9 or e13-9. with some experimentation sometimes works on the relative minor as well--or even the 1, for instance, when in c, instead of going to am, try , a13-9, c13-9, eb13-9, gb13-9,  
especially when attempting to add some spice to boring repetitive c, am, f, g7 progression

an easy way to form these 13-9 is to play a seventh span in the left
in c..c-bb..and then play the major triad above it which is a minor third below the root, which in c would be a amajor triad.
and to form c7-5 play a gbmajor triad aboove the c span ( the bv major triad )
m
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