As with all David's video posts, the amount of jump off points for learning this provides is amazing. As ever, David is such a wonderfully engaging teacher, his passion for the Americanaand blues form and his own dexterity are obvious but he never tries to blind with his knowledge or playing skill. One of the best guitar teachers on the web.
Thank you! Another door opened by your clear and concise instruction. Instead of parroting chord substitution patterns you shine a light on how they are constructed and why. Using higher chordal notes that mimic bass pattern notes is spot on. I never even thought of doing that. Excuse me, I have to go practice.
I find it easier to think of that C7, A7, D7, G7 turnaround as a I7, vi7, ii7, V7 (which would be C7, Am7, Dm7, G7) but subbed to all dominants, becoming I7, VI7, II7, V7, leading back to I7. Yet another great lesson, David. Thank you.
Great lesson as always. I always look forward to this chord substitution stuff after becoming more and more interested in jazz guitar as I get old. The development from blues to jazz is fascinating. Thanks a lot.
Thanks David. Buckdancers Choice would be a great lesson!......first time I heard the song was Guthrie Trapp's version and have looked for tabs since then....
Bartok substitutions are nice. Major chord up a minor third from the root of I IV and V. Plug them in and see how you like them. They even work as the target of a modulation in a tonal song like say whats new where Ab substitutes for F, C to F becomes C to Ab becomes C Bbm9 Eb7 Ab. Relative minor down a minor third, tritone a tritone away(oddly enough) add the Bartok substitutions and lo and behold thats all of the tones there are in the chromatic scale. People used to know this, then Berklee.....and no new standards. Always great to see your clear and beautifully played lessons David.
Another nice turnaround with a more bluesy sound substitutes B7 for F7. Split the B7 into F#m7b5/c to B7. Notice that F#m7b5 is a homonym fo Am6 and approach that chord with it's dominant E7/B. This turnaround happens in After You've Gone, also sounds good with root position chords. Lines need only target the B7.
Having only watched this one time, probably 95% of it went over my head...but I believe I did catch the idea of using the fifth of the fifth as a chord substitute. Now this brings up the question, wouldn't I need a vast knowledge of different chord forms for these substitutions, e.g. C9, A7/b13, G13, etc. especially if I am to fill them in sort of 'on the fly'?
Great presentation - very informative!
As with all David's video posts, the amount of jump off points for learning this provides is amazing. As ever, David is such a wonderfully engaging teacher, his passion for the Americanaand blues form and his own dexterity are obvious but he never tries to blind with his knowledge or playing skill. One of the best guitar teachers on the web.
Outstanding!
Thank you! Another door opened by your clear and concise instruction. Instead of parroting chord substitution patterns you shine a light on how they are constructed and why. Using higher chordal notes that mimic bass pattern notes is spot on. I never even thought of doing that. Excuse me, I have to go practice.
I find it easier to think of that C7, A7, D7, G7 turnaround as a I7, vi7, ii7, V7 (which would be C7, Am7, Dm7, G7) but subbed to all dominants, becoming I7, VI7, II7, V7, leading back to I7. Yet another great lesson, David. Thank you.
Amazing Guitarist and your lessons are truly inspiring, thankyou
Great lesson as always. I always look forward to this chord substitution stuff after becoming more and more interested in jazz guitar as I get old. The development from blues to jazz is fascinating. Thanks a lot.
Thanks David. Buckdancers Choice would be a great lesson!......first time I heard the song was Guthrie Trapp's version and have looked for tabs since then....
Bartok substitutions are nice. Major chord up a minor third from the root of I IV and V. Plug them in and see how you like them. They even work as the target of a modulation in a tonal song like say whats new where Ab substitutes for F, C to F becomes C to Ab becomes C Bbm9 Eb7 Ab. Relative minor down a minor third, tritone a tritone away(oddly enough) add the Bartok substitutions and lo and behold thats all of the tones there are in the chromatic scale. People used to know this, then Berklee.....and no new standards. Always great to see your clear and beautifully played lessons David.
Another nice turnaround with a more bluesy sound substitutes B7 for F7. Split the B7 into F#m7b5/c to B7. Notice that F#m7b5 is a homonym fo Am6 and approach that chord with it's dominant E7/B. This turnaround happens in After You've Gone, also sounds good with root position chords. Lines need only target the B7.
thx
Having only watched this one time, probably 95% of it went over my head...but I believe I did catch the idea of using the fifth of the fifth as a chord substitute. Now this brings up the question, wouldn't I need a vast knowledge of different chord forms for these substitutions, e.g. C9, A7/b13, G13, etc. especially if I am to fill them in sort of 'on the fly'?