5 Jazz Chord Substitutions You Need to Know
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- Опубліковано 16 жов 2024
- Jazz harmony can be complex as it is, but then jazz musicians will often stir the pot even more by adding chord substitutions all over the place!
Not to worry. In this video, I go over 5 common jazz chord substitutions you should be aware of.
If you're interested in this kind of thing and studying jazz harmony, consider checking out my eBook, The Jazz Standards Playbook: www.learnjazzs...
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Definitely worth pointing out that playing F7 (as IV) could also been seen as the Tritone substitute for B7 (secondard dominant heading to Em7)
The m7b5 to m6 to rootless dom9 chord relationship is immensely interesting and useful in terms of chord substitution and building lines.....
A few of my faves: bIII dim for VI in iii-VI-II-V (great with the fifth as a pedal tone), ii-bVI7-V7-bII7-I (tritone subs leading in to V and I chords), bVI7 for ii in a minor ii-V-I, bIImaj7 for I if the root is in the melody.
Something I learned from Bruce Forman which is the TRY TONE THEROY - Try a sub and if it sounds good and you like it use it. It keeps your melodies really interesting and unique. So one I like is using a "false" resolution" so going to the minor iv right after a II V That would have taken you home. It's a nice additional sound that works in simple blues or "major" sounding songs to give them a little depth and unexpected flavor. This is one...but there are so many!
Thanks for the addition Bruce! Fan of Bruce Forman here, and even got to study with him a bit.
Great great lesson!!Thanks !!!
this is like the only good jazz lesson channel on youtube! brilliant
Brent, nice job on this topic. Using Bb rhythm changes, Cherokee, Sweet Georgia Brown, All the Things You Are, for practice tracks. Great quality, thanks.
Thanks Jimmy! Glad to help.
duuuuuude this is perfect thanks so much!!
My pleasure!
I adore the IV-iii idea.
Great lesson, Brent! Which led me to ponder...
IV leading to iv (minor): substitute the iv (m) with a flat 7 dominant or #6 dominant. Commonly used in pop or jazz (raising the minor 4th to a dominant major 4th above) Ex. C - C7- F - Fm(7) - C. Using an Bb7 instead of Fm(7). Is there a NAME for this substiution?
Best video ever. You saved a life.
Thanks my friend! Glad to be of help
Thanks- excellent, clear delivery of concepts and material plus a very nice sounding guitar! A superior tutorial.
Wow, thanks!
Great lesson. This opened up some ideas and new chords I can use in my Jazz studies!!!
Howdy
This is a great lesson for my ear training...just what I need...much appreciated...Jason
Glad to help!
This is great to know, also cool to realise that I might do something from this instinctively and that there are other ideas I can try out. Thanks for this video!
Don’t play jazz but it’s cool seeing some of these chords as I would try to find as many shapes possible when first learning. Before YT was big and helpful. Didn’t even know the names at the time. lol
awesome video lots of cool and wise information about jazz concepts,
Thanks ! Im a Tejano player but learned these chords as substitutes !! 😁
I hope one day I can change from that A string maj9 to the A string dom7 chord as quick as you 🤯
I believe you will!
Hello Brent. Great stuff as always. What extensions can be used for the tritone substitution?
Nicely done . Good explanation. Just subscribed and will recommend to my guitar students !
Thanks, I know some of them and applied them but didnt know the deeper Meanning
Glad to help Saul!
Great lesson
Love your lessons
Glad to hear that James!
Have you done a video on line led substitutions? I feel like a lot of the old school jazzers didn't understand much of the theory behind what they were doing but were using the top lines of chords to move them harmonically around the instrument - Wes comes to mind. Could you do a video on this if you haven't?
The chromatic ii V7 is the basis for Satin Doll. 8:00 Very cool.
Thanks for sharing that!
My pleasure Miguel!
Great video, thanks a lot.
You play a 9th with almost any chord.
Would be nice to mention that for others. Not everyone knows
Cheers
There’s always the Neapolitan 6th (flat II in first inversion) as a predom (or pre cadential 6/4) sub. Not to mention the class of augmented 6th chords -which are really the ancestors to your “tritone subs”, as subs for various pre-dom structures. Your viewers might find it enlightening if you went over how some of these harmonic structures “evolved” out of counterpoint into the harmonies we all know and love. Food for thought for an episode
Not a bad idea David. Thanks for the suggestion!
Great lesson man, thank you so much!
That turnaround in the last 2 bars of Lady Bird is a 1-6-2-5, except the 6, 2, and 5 chords are all taken up a tritone. I'd call this a mega tritone substitution.
The turnaround is Cmaj7-Ebmaj7-Abmaj7-Dbmaj7
Good lesson.
Do you think it's possible to integrate this jazz chord changes in a pop song without making them sound "weird" or unpleasant to the listener?
Hey Alessio, I think it's totally possible. I actually think that Adam Neely does a great job of explaining some possibilities with adding interesting harmony into pop songs: ua-cam.com/video/JXfQsHT5c30/v-deo.html&t
@@Learnjazzstandards Thanks man!
great music
On the B part of autumn leaves instead of playing Am7 / / / D7 / / / G^7 / / / C^7 / / / you can play Am7 / / / D7 / / / Abm7 / Db7 / Gm7 / C7 /
Beautiful
Negative harmony is a fun tool!
I like to substitute a F minor7 for a G7 going to Cmaj7 ( Dm7- Fm7- Cmaj7)
Why does this sound so good?
@@juanpgomez1299 I’m a newbie but I think it’s because all notes in Fm7 easily resolve to /half step away from Cmaj7. The root in Fm7->3rd in Cmaj7, 3rd in Fm7->5th in Cmaj7, 5th->7th, and 7th->3rd. Definitely gonna try this out!
This is a bit off topic, but I like using the III7#9 to go to a iv m9 or a i m7.
Nice!
Ibanez Ag series? You like the sound? If you were buying without a budget what would be your choice or would buy this model again??? Thx
I subscribed to your channel. Cheers .
Awesome! Glad to have you
Hi, thanks for the video! Quick question, towards the end you talk about chromatic ii Vs, but the chords are called Ebm7 and Ab7, why wouldn't they be called D#m7 and G#7?
Linen Band those are the same chords :)
It still technically needs to make the secondary dominant movement "legal" (in a sense) I think. The basic ii - V - I allows anybody to use it multiple times if you land on a minor chord each time (eg. Am - D7 - Gm - C7 - Fm - B7 - Em, etc) but it does require you to technically use a "V - I" motion.
To help this make a little more sense, the V of D is A in this case, so either Ab, A or A# moving to Db, D or D# would make the V - I motion, but making it G# would make it a #IV which isn't the "legal" V - I motion we aim for. In terms of jazz harmony, figuring it as #IV instead of "V" wouldn't necessarily mean it breaks the rule (I don't know how fixed it is) but as an enharmonic equivalent and for the sake of Western theory it would be more difficult to read as a #IV then a bV.
I can't say that anything I've said here is entirely correct, though I'd hope it's on the right track to answering your question, I'm simply a 2nd year BMus student wrapping up Jazz Harmony of the first semester, but I hope it gives you some sort of insight.
Hey Brent! very useful insights and lessons. Comments on the Ibanez ag 95? im considering on purchasing one soon, it would be my first hollow body guitar.
Hi Frank, glad to help! I would say that the Art Core guitars are a really good value for your buck. I've personally, changed out the bridge for a wooden one which gives it a warmer tone.
I have used I-bIII7-bVI7-bII7/V-I or I-bVI-bII9-V-I Good show!
hugh glover, So all your chords are dom?
@@miel3554 basically you can see all the chords before the tonic as some kind of dominant function so yeah ofcourse... normally in the circle of fifths/fourths the leading tone is a 7b so either dominant or minor. All of the chromatic harmony you can somehow justify with calling them a tritone sub of a subdominant or whatever in the end it just comes down to taste and building tension to the tonic
One ive been sheddin is i guess you could call it #Vmaj7(#11) for #v-dim. Although im using major key numbers, I think of it as minor key bc the usual diminished half step below the vi is the emphasis. It implies melodic minor of IV, or III7#5 super locrian
Thanks for the valuable info I was just searching for chord substitution! I've no experience with jazz. I do want to learn, but I don't know where to start-it's like a boundless ocean. Any suggestions? Thanks in advance.
learn your 2-5-1 progression in all the major keys: minor 7 on ii, dominant 7 on V, major 7 on I
The chromatic minors in Stormy Monday are also subs for the 3 6 2 5 turnaround tha way my ears hear it.
Besides the tritone sub, can you replace it with a bIImaj7 for a Neapolitan sound?
Was just told about a few subs you can do on the first two bars of "Have You Met Miss Jones" - Fmaj7/Bb7/Am7/D7 in the first two measures leading to the Gm7 in measure 3. Also Fmaj7/E7/Eb7/D7. Also heard about doing the chromatic ii Vs on the same tune (at the first ending of the A section).
Thanks for sharing David! The possibilities are endless.
Help! I'm just starting to learn about diatonic chords but I'm teaching myself and one thing that's caught me out here is the first chord progression before he subs anything. The A7. It has a major 3rd in it. That c#. Shouldn't that chord be minor?
I'll try to make it short,I've devised subs for the V chord based on the G7b9,which is a perfect V in the key of C well if you take the G out of the chord your left with the Ddim7 chord,now add as the base note the notes of the Edim7 you end up with 4 7b9 chord anyone can replace the V chord In C
Thanks for explaining this. How about Am11, Ab7b5, Gmaj7 instead of Am7, D9 or D7, Gmaj7. The Ab7b5 can be thouth of as a D7/Ab. Key of G though, sorry, but you can transpose.
For the 3 chords he plays here 5:02 - 5:06, is he actually playing 7th chords like he says he is, or 9th chords? I noticed when he says the chord he is playing, it's actually an embellishment somehow
its a m9, yeah
How come you add extra notes to the chords? Is it just to make them extra spicy? (Like playing maj9 instead of maj7)
Absolutely Luke, that's the idea!
@@Learnjazzstandards It would be less confusing for a lot of us if you play the chords you are calling out and showing on the screen. Otherwise, please tell us what you are doing.
Wow !
I have a question that may or may not have been answered here. In the song Amy winehouse you know I'm no good it starts in Dm7 and goes to Gm7 then to Amaj7 then later on goes to the Am7 what is going on with this ? I'm very confused. Thanks for your lessons and time :)
i like subbing minor chords for 6 9 ones :)
I think it would be important to explain musical concepts not only in C major to support the skill of thinking and playing in any given key.
Agreed Alexander, I don't always use the key of C. But I do have a lot of beginners in my audience so I try to keep things simple by explaining things in one key at a time.
@@Learnjazzstandards Thanks for your reply.
I don't know if it's worth mentioning that at 1:30 you don't play 7th chords, you play 9s and #5s....sounds great, but why not play as written?
Maybe dumb question. Why you play in key of C major A7 in stead of Am7? Am I missing something?
So basically everything is either an upper structure of some sort or an inversion of one?
Why you pinky goes different on Amin7 vs Dmin7?*This is in regards the first chord substitution*
I would say sometimes I play Before a Dom or In place Of a Dom . So If you have D-7 G7 C major 7 ( I might not even play the Dominant chord. I might play Bbdomb5 F minor 6 or F minor Major Um G sharp Major flat 5 D flat major flat 5 ............... Um D minor b5 ................... I toss all these In a Minor 4 group. I have substituted G7 with all those chords. Kind of Sub Dominants ........ Not always with a band but just playing solo I think they can work well IN the right context. You I bet already have a video On these . But just In case.
Using the dom of the dom is called secondary dominants
Hey can you say what guitar you are using and whatever equipment ? Thanks fro the good info,
Hey Richard, I use an Ibanez Artcore AF95. When I record videos I don't use a live set up, I just plug direct in to Pro Tools and add a touch of compression and some reverb. That's it!
Why don't you tell your viewers that you are playing ninths instead of sevenths? Your voicings are great. It sounds very nice. For me, a I VI II V I progression has the six and the three as minor, but you are playing a AMaj7/9. Perhaps you explained it later but I did not watch the hole thing...
The graphics on the screen and what you are saying is "Cmaj7, A7, Dm7, G7" but you're playing C9, A7b13, Dm7, G7b13. For those of us new to jazz guitar it's confusing why the chords don't sound the same as what you're telling us to play.
Chromatic approach ii V’s u know C#-7 F#7 D-7 G7 ala John Lewis and moments notice which Coltrane got that idea from John lewis
I'm here to learn, I don't know shit xD
I dont understand the chromatic ii v, why use #ii ebm7 and why use the #V Abmaj7 and not Bbmaj7 from Eb?
Hey Kenneth, not entirely sure if I understand your question and how Abmaj or Bbmaj or Eb play in this. Otherwise would love to help!
@@Learnjazzstandards sorry its okay i understand now thank you
No worries!
1:35 - ummm that's a CMaj9 (which I am sure you know) - at least it sure looks like it and the D is prominent - so, why call it a CMaj7?? Great video btw - but it would seem you should keep your chords consistent with the rest of the content (?)
so dense, the 9 is just a colour note, it’s still cmaj7. In jazz you don’t need to have the exact colours mentioned in the chord symbol, it’s open to interpretation
@@shawndimery what an idiot comment - how are viewers' ears going to 'follow along' with the visual unless the extensions are mentioned
You look really similar to my boy RTZ
COLTRANE CHANGES
That's true, David! That's like the ultimate chord substitution. More like a re harmonization.
He forgot to mentioned that reason III- I substitution works is because the Emin7 moves in the cycle to A7, ii7- Dmin7- V7 G7- C I C7/9
Hmm, my way of looking at it is that it works because Em7 is the same notes as Cmaj79 if you start with the maj 3rd (E) and omit the root. In fact, you can substitute any diatonic chord with the diatonic chord a 3rd above: I with III, II with IV, III with V etc.
My favourite chord substitution is "If you play 1,4, 5 I'll smash yer face in!" XD
Hi Brent
Not wanting to be a smart arse, but I think the capsule on that mic is side on. So that's why your sound is a bit thin.
Hope this helps.
L
Heard this the other day. Substitute a minor 11 for a minor 7 b5.
Hi Mike! That could certainly work. You just wouldn't be emphasizing that half-diminished sound anymore. But that would be a musical choice you could make!
im not a guitarplayer,im a JAZZZZZZ guitar player dont u forgetttt
iv min - bVIIdom - Imaj ?
The back door dominant is a good one! Essentially, that's a backdoor dominant with a ii in front of it.
Good discussion but the delivery is too fast
IV to iv to I
It's disingenuous to be playing alterations and extensions in your examples and still calling them by their 7th chord names. If you are going to play Dm9 Db9 Cmaj9, then please call it only and exactly that - otherwise people trying to learn will be disappointed that they're not hearing those colors when they play Dm7 Db7 Cmaj7. A7 and A7(#5 b9) are not the same!
tu vas trop vite dans le chagement des accords.... pfffffffffffff