Tritone Chord Substitution Shown in ii - V - I - VI Turnaround Chart excerpted from Basic Musicianship Key C D b D # b # $ ! b ! A b A B b B
ii
(tritone) Dm (A bm7 # bm7 (Am7 #m7 (B bm7 $m7 (Bm7 $%m7 (Cm7 !m7 (D bm7 A bm7 (Dm7 Am7 (# bm7 B bm7 (#m7 Bm7 ($m7 Cm7 (! bm7 C%m7 (!m7 7
V (tritone) ! (D b7 A b7 (D7 A7 (# b7 B b7 (#7 B7 ($7 C7 (! b7 D b7 (!7 D7 (A b7 # b7 (A7 #7 (B b7 $7 (B7 $%7 (C7 7
I
C D b D # b # $ ! b ! A b A B b B
VI (tritone) A (# b7a"t B b7a"t (#7a"t B7a"t ($7a"t C7a"t (! b7a"t C%7a"t (!7a"t D7a"t (A b7a"t # b7a"t (A7a"t #7a"t (B b7a"t $7a"t (B7a"t $%7a"t (C7a"t !7a"t (D b7a"t !%7a"t (D7a"t 7a"t
#mpe&aremos con a"'unos conceptos bsicos) What is a chord substitution? ¿Qué es la sustitución de un acorde?
It*s usin' one chord in p"ace of another (or part of another in a chord pro'ression+ #st uti"i&ando una cuerda en "u'ar de otro (o parte de otra en una pro'resi,n de acordes+ Why would you want to substitute a chord? ¿Por qué le gustaría sustituir un acorde?
e"". /ou mi'ht ha0e a pro'ression that sounds 'ood. but /ou want to see if it can sound better+ Bueno. usted podr1a tener una pro'resi,n 2ue suena bien. pero 2ue desea 0er si se puede sonar me3or+ Substitutin' chords can dress thin's up a bit+ 4a sustituci,n de acordes puede 0estir un poco "as cosas+ 5r if /ou*re p"a/in' in a hi'h"/ impro0isationa" format. chan'in' a chord to somethin' c"ose is one wa/ to throw ideas at the so"oist+ 5 si ests 3u'ando en un formato de impro0isaci,n. e" cambio de un acorde de a"'o parecido es una manera de tirar "as ideas en "a so"ista+ How does chord substitution work? ¿Cómo unciona la sustitución de traba!o acorde?
In two ma3or wa/s) first. the chord mi'ht be c"ose to the ori'ina" - so it sounds *most"/* ri'ht+ #n dos 'randes formas) "a primera. "a cuerda podr1a estar cerca de "a ori'ina" - "o 2ue suena 6"a ma/or1a de derecho+ If the chord ca""ed for is C ma3or (made of C#! notes. /ou mi'ht tr/ A minor (AC# or # minor (#!B. which each ha0e two of the same notes it*s
the one note that*s different which ma8es it a substitution+ Si e" pedido es acorde de Do ma/or (C#! de notas. puede intentar un menor de edad (AC# o # menor (#!B. 2ue tienen cada uno dos de "as mismas notas +++ es una nota 2ue es diferente "o 2ue "o con0ierte en una sustituci,n + This is easiest to see in standard notation) #sto es ms fci" de 0er en e" estndar de notaci,n)
In the second wa/. the chord is different from the ori'ina". but "eads natura""/ into it+ #n e" se'undo modo. "a cuerda es diferente de "a ori'ina". pero. natura"mente. ""e0a en 9"+ These substitutions are usua""/ for 3ust part of the duration+ #stas sustituciones son 'enera"mente de s,"o una parte de "a duraci,n+ In the fo""owin' examp"e. $ ma3or is p"a/ed for two bars in the ori'ina" pro'ression+ #n e" si'uiente e3emp"o. $a ma/or es 3u'ado por dos barras ba rras en "a pro'resi,n+ :ou mi'ht tr/ C7 for the first bar. and $ ma3or for the second bar+ ;sted puede tratar de C7 para e" primer comps. / $a ma/or para e" se'undo bar+ The C7 natura""/ reso"0es to $. so e0en if the C7 is a bit of a "eap from where /ou *shou"d* be in the pro'ression. it "eads /ou ri'ht bac8 to the path /ou were ori'ina""/ on+ #" C7 resue"0e natura"mente a $. de modo 2ue inc"uso si e" C7 es un poco de un sa"to desde e" 2ue 6deber1a6 estar en "a pro'resi,n. 2ue "e ""e0a de re'reso a "a ruta 2ue estaba ori'ina"mente en+ 5ri'ina") 5ri'ina")
Substitution) Sustituci,n)
instead of !7+ Siempre puede a?adir cosas a "a base de notas de un acorde - C= 3u'ar en "u'ar de C. o !> en "u'ar de" !7+ Since a"" of the notes of the ori'ina" chord are a"so in the substitution. the/ retain the ori'ina" idea of the harmon/+ Dado 2ue todas "as notas de "a cuerda estn tambi9n en "a sustituci,n. conser0an "a idea ori'ina" de "a armon1a+ The one thin' to pa/ attention to is the se0enth note of the
chord - if it*s a dominant chord to be'in with (ha0in' a b7 note. /ou*"" want to 8eep a b7 tone in the substitution+ 4a @nica cosa 2ue prestar atenci,n a "a s9ptima nota es de "a cuerda - si se trata de un acorde dominante para empe&ar (con una nota b7. usted 2uiere mantener un tono de b7 en "a sustituci,n+ If it*s a ma3or chord to be'in with. /ou*"" want to add a ma3or (natura" se0enth if /ou use one+ Si se trata de un acorde ma/or para empe&ar. usted 2uerr a're'ar una de "as principa"es (natura"es s9ptimo si dispone de una+ Minor chords are the switch hitters - /ou can extend them either wa/ choose the one that p"aces the se0enth (7 or b7 in 8e/+ 4os acordes menores son e" interruptor bateadores - se p uede amp"iar /a sea e"e'ir e" camino +++ un "u'ar 2ue e" s9ptimo (7 o b7 en c"a0e+ 5ri'ina") 5ri'ina")
Substitution) Sustituci,n)
#2 - Chord sim!i"ictions + # 2 - Acorde sim!i"icciones. These are the opposite of extensions - /ou can use a diminished triad. "i8e B (BD$ in p"ace of a 7 th chord a ma3or third "ower - in this case. !7 (!BD$+ #stos son "o contrario de extensiones - usted puede uti"i&ar una tr1ada disminuido. a" i'ua" 2ue B (BD$. en "u'ar de un 7 acorde de un 'ran tercio inferior - en este caso. e" !7 (!BD$+ That wor8s because the notes of the diminished triad are comp"ete"/ contained in the se0enth chord) ue funciona 'racias a "as notas de "a tr1ada disminuido son comp"etamente contenida en "a s9ptima cuerda)
5ther simp"ifications can sna' 3ust a portion of the ori'ina" chord - if D> (D$%-AC# is ca""ed for. a D triad wor8s as does Am or $%+ 5tras simp"ificaciones pueden en'ancharse s,"o una parte de "a cuerda ori'ina" - si D> (D$ %-AC# se ""ama para. una tr1ada de obras D +++ So/ i'ua" 2ue o $ % + #ach of those has three tones out of the ori'ina" chord*s fi0e) Cada uno de e""os tiene tres tonos de "a cuerda ori'ina" de "os cinco)
#$ - Chord susensions + # $ - Acorde susensiones. Suspended chords rep"ace the third with a fourth. and that creates tension that wants to reso"0e - the fourth wants to mo0e down
a ha"f step to the third+ Suspendido acordes con sustituir e" tercer cuarto. / 2ue crea "a tensi,n 2ue 2uiere reso"0er - e" cuarto 2uiere a0an&ar por medio paso a "a tercera+ ;se these for the first ha"f of a chord - use $sus-$C or $-Csus-C in p"ace of $C+ ;ti"ice estos para "a primera mitad de una cuerda - $sus uso o $-$C-Csus-C en "u'ar de $C+ 5ri'ina") 5ri'ina")
Substitution) Sustituci,n)
#% - Secondry &ominnts + # % - Secundri dominntes. :ou can a"wa/s use the dominant chord of /our tar'et for 3ust part of the ori'ina" chord*s duration+ Siempre se puede uti"i&ar e" acorde dominante de su meta para esta parte de "a cuerda ori'ina" de duraci,n+ e did this with C7 and $ 3ust a "itt"e whi"e a'o. usin' a measure of each instead of p"a/in' two measures of $+ This is ca""ed a secondar/ dominant. which I co0ered in an ear"ier artic"e+ 4o hicimos con C7 / $ poco tiempo atrs. uti"i&ando una medida de cada uno en 0e& de 3u'ar dos medidas de $+ #sto se ""ama una dominante secundaria. 2ue abarca en un art1cu"o anterior+ Secondar/ dominants actua""/ wor8 for an/ chord in a pro'ression. not 3ust a dominant chord+ Dominantes secundarios rea"mente para cua"2uier traba3o en una pro'resi,n de acordes. / no s,"o un acorde dominante+
5ri'ina") 5ri'ina")
Substitution) Sustituci,n)
#' - e!tie m*ors nd minors + # ' - re!ti myores y menores. If the ori'ina" chord is minor. the ma3or chord bui"t on the third (C for an Am chord wi"" wor8 as a chord substitution if the ori'ina" is ma3or. the minor based on the sixth wi"" wor8+ Si e" ori'ina" es menor de edad acorde. e" acorde ma/or construido en "a tercera (C So/ un acorde funcionar como un acorde de sustituci,n. si e" ori'ina" es ma/or. e" menor sobre "a base de "a sexta traba3ar+ In both cases. the substituted chord wi"" ha0e two of the ori'ina" chord*s
three tones) #n ambos casos. "a cuerda se han sustituido dos de "os acordes ori'ina"es de tres tonos)
#+ - ,inor chords third boe m*or + # + - ,enores de cordes un tercio or encim de un de !s rinci!es. 4i8e the re"ati0e minor (the sixth abo0e a ma3or. this chord wi"" share two tones with the ori'ina") A" i'ua" 2ue "a re"ati0a menor ("a sexta por encima de una de "as principa"es. este acorde compartirn dos tonos con e" ori'ina")
# - c/ nd "ourths (a term I in0ented to exp"ain this one to students e*0e a"" seen how a b"ues pro'ression mo0es I-IV-I before the V7-I cadence /ou can use a chord of the same t/pe. a fourth hi'her. for an/ chord - as "on' as /ou ma8e a chord *sandwich* (ori'ina"-substitution-ori'ina"+ # - Vo!er y curtos (un t9rmino 2ue in0ent, para exp"icar esto a "os estudiantes una Todos hemos 0isto c,mo se mue0e un b"ues pro'resi,n I-IV-I antes de "a V7-I cadencia puede usar una cuerda de" mismo tipo . un cuarto ms a"to. para cua"2uier acorde - siempre / cuando usted hace un acorde de 6sndwich6 (ori'ina" de sustituci,n de ori'ina"es+ If the pro'ression 'oes C$-!7. /ou can p"a/ C$-Bb-$-!7+ Si "a pro'resi,n 0a C$-!7. 2ue puede 3u'ar $C-Bb-$-!-7+
5ri'ina") 5ri'ina")
Substitution) Sustituci,n)
#0 - &iminished th chords third boe dominnt chord + # 0 - &isminucin de! cordes un tercio or encim de un corde dominnte. Since the simp"ification of a se0enth chord into a diminished triad (substitutin' BD$ for !BD$ wor8s. /ou can combine the simp"ification and extension to create a new substitution - usin' B7 (E-F-G bb7. or BD$-Ab+ Dado 2ue "a simp"ificaci,n de un acorde de s9ptima disminuida en una tr1ada (BD$ para sustituir !BD$ funciona. puede combinar "a simp"ificaci,n / "a
extensi,n para crear una nue0a sustituci,n - e" uso de B 7 (E-F-G-BB7. o BD$-Ab+ The new chord wi"" share three tones with the ori'ina"+ #" nue0o acorde compartirn tres tonos con e" ori'ina"+
#3 - &ominnt th chords minor third boe dominnt chord + < 3 - cordes dominntes un tercer menor or encim de un corde dominnte. This one wi"" share two tones - instead of !7 (!BD$. /ou*d p"a/ Bb7 (Bb-D$-Ab+ #sta ser una cuota de dos tonos - en "u'ar de" !7 (!BD$. usted desempe?ar BB7 (Bb-Ab-D$+ :o u sti"" ha0e two tones in common+ A@n dispone de dos tonos en com@n+ I*m showin' this chord in0erted. so /ou can more easi"/ see how c"ose the/ are) #sto/ mostrando esta acorde in0ertido. de modo 2ue puede 0er ms fci"mente 2u9 tan cerca estn)
#14 - The tritone substitution + # 14 - 5! Tritone sustitucin. A tritone is three who"e steps from the ori'ina" chord+ Tritone es un co n3unto de tres pasos de "a ori'ina" acorde+ If the ori'ina" is dominant - a 7 th . > th . EE th . or EF th chord - /ou can use an/ dominant chord that*s three who"e steps up from the root of the ori'ina"+ Si e" ori'ina" es dominante una 7 H. > H. EE H. EF H cuerda o - 2ue puede usar cua"2uier acorde de dominante 2ue en su con3unto "os tres pasos desde "a ra1& de "a ori'ina"+
$or examp"e. if the ori'ina" is !7 (!BD$. a tritone up from ! is C% - so /ou cou"d use C%7. or the enharmonic Db7 instead (Db-$-Ab-C+ or e3emp"o. si e" ori'ina" es de" !7 (!BD$. hasta un Tritone de ! es C % - as1 2ue podr1a usar C % 7. o e" "u'ar enharmonic DB7 (DB-M-Ab-C+ This wor8s for a coup"e of reasons first. the new chord shares two tones with the o"d one second (and rea""/ coo" - one reason this substitution is used so often in 3a&&. the new chord wi"" a"most a"wa/s b"end into the chords on either side b/ ha"f steps+ #sto funciona para un par de ra&ones +++ en primer "u'ar. "as nue0as acciones de dos tonos acorde con "a de" 0ie3o. se'undo (/ mu/ bien - una de "as ra&ones por esta sustituci,n se uti"i&a con tanta frecuencia en e" 3a&&. "a nue0a cuerda casi siempre se me&c"a en "os acordes a ambos "ados a "a mitad pasos+ 4et*s sa/ the ori'ina" chan'e is Dm-!7-C+ Di'amos 2ue e" cambio es Dm-!7-C+ e p"u' in Db7 instead of !7 and now the roots mo0e chromatica""/. D-Db-C+
de Dm. / C est en "a cuerda C - e inc"uso para "a Ab hace cromtica pasos A-Ab-! pasar de "a dm acorde a "a C I*"" show the !7 and Db7 chords in0erted. so /ou can more easi"/ see the chromatic mo0ement) Mostrar9 e" !7 / DB7 acordes in0ertidos. por "o 2ue es ms fci" 0er e" mo0imiento cromtico)
#11 - mb' chords "i"th boe in !ce o" dominnt chord + # 11 - mb' un 6uinto or encim de !os cordes7 en !u8r de un corde dominnte. Instead of usin' !7 (!BD$. /ou can use Dm7bG (D$-Ab-C+ #n "u'ar de uti"i&ar e" !7 (!BD$. puede uti"i&ar Dm7bG (D$-Ab-C+ A'ain. /ou ha0e two common tones from the ori'ina" chord - the Dm7bG is shown in0erted to hi'h"i'ht the simi"arit/) ;na 0e& ms. tiene dos tonos com@n de "a cuerda - "a Dm7bG aparece in0ertida para poner de re"ie0e "a simi"itud)
#12 - m i "i"th hi8her thn dominnt ("or rt o" chn8e) + # 12 - , i 6uinto suerior un osicin dominnte (or rte de un cmbio). This actua""/ turns a VI pro'ression into ii-VI. a 0er/ common 3a&& pro'ression+ #sto rea"mente se con0ierte en una pro'resi,n ii VI-VI. una pro'resi,n mu/ com@n 3a&&+ Instead of usin' !7-C. /ou can use Dm7-!7-C+ #n "u'ar de uti"i&ar e" !7-C. puede uti"i&ar Dm7-!7-C+
5ri'ina") 5ri'ina")
Substitution) Sustituci,n)
#1$ - &ominnt !tertions + # 1$ - !terciones dominntes. These start 'ettin' tric8/ when /ou ha0e a dominant chord in the chart. /ou can p"ace bG. %G. b>. or %> in the chord+ Comien&a a recibir estos dif1ci"es +++ cuando se tiene un acorde dominante en "a tab"a. puede co"ocar bG. % G. b>. % > o en e" acorde+ It*s best to estab"ish the ori'ina" chord first . then do /our substitution+ #s me3or estab"ecer "a cuerda en primer lugar, a continuaci,n. rea"i&ar su sustituci,n+ C7-$ can become C7-C7bG-$. or C7-C7J-$. or C7-C7b>-$. etc+ These wor8 best when the dominant chord is 'oin' to reso"0e down a fifth+ C7-M C7-puede con0ertirse en C7bG-$. o C7-C7 J $. o C7b>-C7-M. etc #stos funcionan me3or cuando e" acorde dominante 0a a reso"0er un 2uinto+ $or more on a"tered chords. see m/ artic"e KA"tered StatesL+ ara ms informaci,n sobre "os acordes a"terados. 09ase mi art1cu"o 6#stados A"terados6+ #1% - Stein8 + # 1% - Stein8. Most chords can be *stepped into* chromatica""/ - /ou can substitute C-Ab7-!7 or A$%7-!7 for a C-!7 chan'e+ 4a ma/or1a de "os acordes pueden ser 6refor&ado en cromticamente - puede reemp"a&ar Ab7 C-A$-!-7 o !-7 % 7-C-por un cambio de" !7+ :ou can actua""/ o0erNunder shoot /our chord b/ 2uite a wa/s and sti"" step into it. if /ou treat the chan'e carefu""/ C-B7-Bb7-A7-Ab7-!7 can be made to wor8 under the ri'ht circumstances+ ;sted puede en rea"idad ms de N en 0irtud de disparar por mu/ acorde a su manera / toda01a un paso en 9". si e" cambio tratar cuidadosamente +++ CB7-BB7-A7-Ab7-!-7 se puede hacer para traba3ar ba3o "as circunstancias adecuadas+
A"thou'h steppin' chromatica""/ is the most common of this fair"/ rare t/pe of substitution. it*s not the on"/ choice - a"tered dominants wor8 we"" when stepped into b/ who"e steps. as in C-A7%>-!7%>-!7 for a C-!7 chan'e+ A pesar de "a intensificaci,n de cromticamente es e" ms com@n de este tipo bastante raro de sustituci,n. no es "a @nica opci,n - a"terado dominantes funcionan bien cuando entr9 en su con3unto por pasos. como en C-A7 % >-!7 % >-!-7 para un C-!7 cambiar+ ;na"tered dominants wi"" e0en wor8 when stepped into b/ minor thirds - /ou can use C-Bb7-!7 instead of C-!7+ Ina"terada dominantes. inc"uso cuando se entra en deta""e por terceras menores - puede uti"i&ar BB7 C-!7-en "u'ar de C!7+ :ou can e0en combine steppin' with other substitutions - if /ou substitute an a"tered dominant. /ou can step into it b/ a who"e step. "i8e this) ;sted puede inc"uso combinar con otras sustituciones refuer&o - si un sustituto dominante a"terado. puede 2ue en e" paso por un con3unto de paso. de este modo) 5ri'ina") 5ri'ina")
Substitution) Sustituci,n)
Chord substitutions don*t come easi"/. and the/ don*t come natura""/ to most p"a/ers+ Sustituciones de acordes no son fci"es. / e""os no 0ienen natura"mente a "a ma/or1a de "os 3u'adores+ Don*t be afraid to experiment in /our practice sessions - e0entua""/ /ou*"" be ta8in' chords in unexpected directions. and reso"0in' them to the ori'ina" pro'ression+
9 ;uitr Chord Theory Oow are 8uitr chords bui"tP hat ma8es a chord minor or ma3orP If /ou*re not sure about this then read on +++ Some bac8'round theor/ ma8es a tremendous he"p when "earnin' ho< to !y 8uitr chords+ 4et*s 'et started with the C m*or sc!e ) C Ma3or Sca"e
C
D
E
Q
# F
$ R
! G
A B =
7
Trids (a chord that is bui"t with F notes and seenth chords (chords that are bui"t with R or more notes are based on thirds+
There are Q 8inds of thirds (or Frds ) minor third
inter0a" of F ha"f steps
s/mbo" ) bF
ma3or third
inter0a" of R ha"f steps
s/mbo" ) F
4et*s start b/ stac8in' Q thirds on the E (first note of the C ma3or sca"e) C
#
!
E
F G
The resu"t is a C ma3or triad or C+ $rom C to # is a ma3or third and from # to ! a minor third ) e0er/ ma3or chord has this structure+ The thin' to remember here is what we ca"" the chord "ormu! for m*or chords) E F G Another thin' to remember ) another name for the E of a chord is the root+ 4et*s do the same for the Q of the C ma3or sca"e ) D
$
A
E
bF G
The resu"t is a D minor triad or Dm+ $rom D to $ is a minor third and from $ to A is a ma3or third ) e0er/ minor chord has this structure+ A'ain the thin' to remember is the chord "ormu! for minor chords ) E bF G
D
$
E
bF bG
The resu"t now is a B diminished triad or Bdim+ $rom B to D is a minor third and from D to $ is a"so a minor third ) e0er/ diminished triad chord has this structure+ So the chord "ormu! of diminished chords is ) E bF bG I'll summarize and complete the other notes of the C major scale :
$ormu"a
Chord
S/mbo"
E
C
#
!
E
F
G
C ma3or
C
Q
D
$
A
E bF
G
D minor
Dm or D- or Dmin
F
#
!
B
E bF
G
# minor
#m or #- or #min
R
$
A
C
E
F
G
$ ma3or
$
G
!
B
D
E
F
G
! ma3or
!
=
A
C
#
E bF
G
A minor
Am or A- or Amin
7
B
D
$
E bF bG
B diminished
Bdim or B
There are Q wa/s to construct chords E+ The first wa/ starts from the m*or sc!e+ 1. $ind the m*or sc!e of a 'i0en 8e/+ If /ou*re not sure how to do this. 'o here) Oow To Construct a Ma3or Sca"e+ If /ou need to find for examp"e the notes of a !m chord then find the ! ma3or sca"e ) ! A B C D # $% Q+ Construct the m*or chord ) E F G+ In our ! ma3or examp"e that wou"d be ) ! B D
F+ App"/ the chord "ormu! to the ma3or chord+ The chord formu"a for minor chords is E bF G+ This means the Frd of the ma3or chord has to be "owered ha"f a step ) ! Bb D Q+ The second wa/ in0o"0es some memori&ation and wi"" be exp"ained in part R. after we co0ered seenth chords and tensions+ art Q of 3a&& 'uitar chord theor/ ) constructin' se0enth chords In part E of 3a&& 'uitar chord theor/ we co0ered the construction of triads. chords that contain F different notes+ If /ou are new to chord theor/. I su''est /ou read part E first+ 4et*s 'et started a'ain with the C m*or sc!e ) C Ma3or Sca"e
C
D
E
Q
# F
$ R
! G
A B =
7
The construction of se0enth chords fo""ows the same princip"e as constructin' triads ) stac8in' Frds on top of each other+ Triads were made b/ stac8in' Q thirds on top of the root+ Se0enth chords are constructed b/ stac8in' F thirds on top of the root+ 4et*s stac8 F thirds on the E of the C ma3or sca"e ) C
#
E
F
! G
B 7
The resu"t is a C ma3or 7 chord or Cma37+ $rom C to # is a ma3or third. from # to ! is a minor third and from ! to B is a ma3or third ) e0er/ ma3or 7 chord has this structure+ So the chord "ormu! for m*or chords is ) E F G 7 4et*s do the same for the Qnd note of the C ma3or sca"e ) D
$
A
C
E
bF
G
b7
The resu"t is a D minor 7 chord or Dmin7+ $rom D to $ is a minor third. from $ to A is a ma3or third and from A to C is a minor third ) e0er/ minor 7 chord has this structure+ So the chord "ormu! for minor chords is ) E bF G b7
B F
D G
$ b7
The resu"t is a ! dominant 7 chord or !7+ $rom ! to B is a ma3or third. from B to D is a minor third and from D to $ is a minor third ) e0er/ dominant 7 chord has this structure+ The chord "ormu! for dominnt chords is ) E F G b7 e*"" s8ip some more notes and stac8 F thirds on top of the 7th note of the C ma3or sca"e ) B
D
$
A
E
bF
bG
b7
The result is a B half diminished chord or Bm7b5. From B to is a minor third! from to F is a minor third and from F to " is a major third : e#er$ half diminished 7 chord has this structure. The chord formula for half diminished 7 chords is : 1 b% b5 b7 I'll summarize and complete the other notes of the C major scale :
$ormu"a
Chord
S/mbo"
E
C
#
!
B
E
F
G
7
C ma3or 7
Cma37
Q
D
$
A
C
E bF
G
b7
D minor 7
Dm7 or D-7 or Dmin7
F
#
!
B
D
E bF
G
b7
# minor 7
#m7 or #-7 or #min7
R
$
A
C
#
E
F
G
7
$ ma3or 7
$ma37
G
!
B
D
$
E
F
G
b7
! dominant
!7
=
A
C
#
!
E bF
G
b7
A minor 7
Am7 or A-7 or Amin7
7
B
D
$
A
E bF bG
b7
B ha"f diminished
Bm7bG or Bmin7bG
9 ;uitr Chord Theory (rt $) In part Q we had a "oo8 at how seenth chords are constructed+ In part F we*"" focus our attention on tensions+ Tensions are notes that are part of a chord. but are not chord tones (E F G 7+
4et*s ha0e a "oo8 a'ain at the C ma3or sca"e ) C Ma3or Sca"e
C
D
E
Q
# F
$ R
! G
A B =
7
If we construct a chord on C. we 'et a Cma37 ) C
#
E
F
! G
B 7
There are F notes "eft in the ma3or sca"e that are not chord tones ) 2. % and ++ If we add these tones to the chord. the/ become tensions+ Most of the time we p"a/ tensions an octe hi8her then the chord tones because e"se the/ mi'ht 'et in the wa/ of the chord tones (the chord wou"d sound *mudd/* most of the time+ That*s a"so the wa/ the/ are notated ) Q becomes > (QJ7(one octa0e>. R becomes
EE and = becomes EF+ So if we add the Q to Cma37 we 'et Cma3> C
#
!
E
F G
B 7
D >
The two other notes that are "eft. the % and +. are specia" cases in combination with a m*or chord+ $irst of a"" here is somethin' we ca"" oid notes ) notes that are a ha"f tone abo0e a chord tone+ A0oid notes sound dishrmonic so the/ are a"most ne0er used+ If we ha0e a "oo8 at the R of the C ma3or sca"e we notice that it is a ha"f step abo0e the e. what is the Frd of Cma37+ So the R (f is an oid note for Cma37+ A so"ution for this is to raise the R a ha"f tone) f becomes f% and is no "on'er an a0oid note and the basic sca"e is no "on'er C ma3or. but C 4/dian (see 3a&& 'uitar modes+ This chord wou"d be ca""ed Cma37(%EE+ The = is a"so a specia" case in combination with ma3or chords+ Most of the times when we add a = to a ma3or chord. the 7 is omitted and there is no octa0e added to the =+ This is because the = and 7 mi'ht 'et in each other*s wa/+ So if we add the = to C ma3or we 'et a C= ) C
#
E
F
! G
A =
The same 'oes for + in combination with a minor chord ) the 7 is omitted+ If we add the = to Dm7 we 'et Dm= (4oo8 out ) the = is no "on'er A because the root of the chord chan'ed to D+ The six is now B (D # $ ! A C ) D
$
A
B
E
bF
G
=
The % is not n oid note in combination with minor chords because it is two ha"f tones abo0e the bF and not one ha"f+ So we can safe"/ add the R to Dm7 and we 'et DmEE )
D
$
A
C
E
bF G
b7
! EE
The % is a"so a specia" case in combination with dominnt chords+ hen a R is added to a dominant chord. the F is omitted+ Chords "i8e these are ca""ed sus% chords+ Chords "i8e these often function as a de"a/ for a dominant chord+ SusR chords often come with a > on the 'uitar ) !
C
E
R
D G
$ b7
A >
There*s a"so somethin' ca""ed a"tered tensions (b>. %>. bG. bEF+ This topic is co0ered "ater in another "esson+ The different chord t/pes and their tensions ) Chord T/pe
Ma3or
Minor
Dominant
Added
S/mbo"
Q
Cma3>
R %R
N Cma37%EE
a0oid note+ %EE comes out of "/dian sca"e
=
C=
omitted 7
Q
Cm>
R
CmEE
=
Cm=
omitted 7
Q bQ %Q
C> C7(b> C7%>
bQ and %Q come out of a"tered sca"e
R
C7susR
=
CEF
b= comes out
b=
C7(bEF
of a"tered sca"e
9 ;uitr Chord Theory (rt %) In 3a&& 'uitar chord theor/ part F we had a "oo8 at chord tensions+ In part R we*"" summari&e the chord "ormu!s and ha0e a "oo8 at some examp"es+
Oere*s a summar/ of the chord "ormu!s we co0ered unti" now J some additiona" chord t/pes ) Chord T/pe
Chord $ormu"a
Ma3or Triad
E
F
G
Minor Triad
E
bF
G
Diminished Triad
E
bF
bG
Au'mented Triad
E
F
%G
Ma3or 7
E
F
G
7
Minor 7
E
bF
G
b7
Dominant 7
E
F
G
b7
Oa"f Diminished 7
E
bF
bG
Diminished 7
E
bF
bG bb7
Au'mented 7
E
F
%G
b7
Suspended R
E
R
G
b7
minorNma3or 7
E
bF
G
b7
7
In 3a&& 'uitar chord theor/ part Ewe saw the first wa/ to construct chords+ Oere*s anther wa/ ) E+ The first step is memori&in' the chords and chord tones of the C m*or sc!e and the chord "ormu!*s)
Cma37
C
#
!
B
Dm7
D
$
A
C
#m7
#
!
B
D
$ma37
$
A
C
#
!7
!
B
D
$
Am7
A
C
#
!
Bm7bG
B
D
$
A
Q+ :ou must be ab"e to picture the chord t/pes and chord tones of C ma3or without thin8in'+ F+
#xamp"e Q ) the chord tones of Ddim7 ) =+ :ou 8now the chord tones of Dm7 ) D $ A C 7+ :ou 8now the formu"a of Dm7 ) E bF G b7 U+ :ou 8now the formu"a of diminished 7 ) E bF bG bb7 >+ Adapt the chord tones of Dm7 to the formu"a of diminished 7 ) brin' the G and the 7 a ha"f step down E+ Conc"usion ) the chord tones of Ddim7 are ) D $ Ab B
#xamp"e F ) the chord tones of $%7 ) EE+ :ou 8now the chord tones of $ma37 ) $ A C # EQ+ To find the chord tones of $%ma37 /ou 3ust ha0e to raise each chord tone a ha"f step ) $% A% C% #% EF+ :ou 8now the formu"a of ma3or 7 ) E F G 7 ER+ :ou 8now the formu"a of dominant 7 ) E F G b7 EG+ Adapt the chord tones of $%ma37 to the formu"a of dominant 7 ) brin' the 7 a ha"f step down E=+ Conc"usion ) the chord tones of $%7 are ) $% A% C% #
9 ;uitr Chord Theory (rt ')
•
$ and are the imortnt notes of a chord because the/ decide the 8ind of chord+ The 1 is the !est imortnt note. because it is most of the time p"a/ed b/ the bss !yer+
•
The ' is not so imortnt either and can be disturbin' sometimes+
•
•
Tensions add co!or and interest to a chord. so it*s preferab"e to use tensions instead of E and G
Another thin' /ou need to 8now is that 1 h!" ste e2ua"s one "ret on the 8uitr+ Oere*s an examp"e with 'uitar chord dia'rams ) •
e*"" start with a C triad ) C # ! (E F G 4et*s ha0e a "oo8 at the 'uitar chord dia'ram )
WEGEFG ) C from "eft to ri'ht (from "ow # strin' to hi'h # strin' we ha0e here ) o
W ) the "ow #-strin' is not p"a/ed
o
E ) the E or root of the chord is p"a/ed on the A-strin'
o
G ) the Gth of the chord is p"a/ed on the D-strin'
o
E ) a'ain the root. but now on the !-strin'
o
F ) the third is p"a/ed on the B-strin'
o
G ) the Gth is p"a/ed a'ain. but this time on the hi'h #-strin'
:ou see that it is o8 to dup"icate chord tones. "i8e the E and the G in our examp"e. but it ma/ sound a bit s"u''ish+ This chord doesn*t sound 0er/ 3a&&/ thou'h. so "et*s spice it up a bit )
WEG7FG ) Cma37 Instead of dup"icatin' the root on the !-strin'. we exchan'ed it for the 7 of the chord+
WEF7>W ) Cma3> e exchan'ed the Gth on the D-strin' for the Frd and we chan'ed the Frd on the Bstrin' to a >+ This wou"d be a nice chord if /ou*re p"a/in' bossa no0a. so"o 'uitar or in duo settin'. but if /ou p"a/ with a bass p"a/er and /ou don*t want to 'et in his wa/. it*s better to omit the root and to p"a/ on the hi'her strin's on"/ )
WWF7>G ) Cma3>N# Instead of p"a/in' the root of the chord. we now p"a/ the Gth on the hi'h #-strin'+ A chord "i8e this is ca""ed a chord inersion ) a chord that has a note other then the root in the bass+ There are three t/pes of chord inersions ) with the Frd in the bass ("irst inersion. with the Gth in the bass ( second inersion or with the 7 in the bass (third inersion+ In our examp"e we ha0e 'ot a Cma3> chord with the Frd (# in the bass+
WWFb7>G ) C>N# And if we want to ma8e this chord minorP Startin' from the dominant chord we ha0e to "ower the Frd a ha"f step. as /ou can see on the 'uitar chord dia'ram)
WWbFb7>G ) Cm>N# A 'reat too" to he"p /ou with the constuction of 'uitar chords is the 'uitar chord finder + To conc"ude our tutoria" I 'i0e /ou some chords where /ou need to find the chord tones of (the so"utions are on the next pa'e ) $or examp"e ) $m7 ) $ Ab C #b susR ) B7 ) #dim7 ) !dim7 ) D7b> ) D%m7bG ) Dma37 )
9 ;uitr Chord Theory (rt +) The so"utions to the chord exercises of 'uitar chord theor/ part G ) !m7 ) ! Bb D $ Abma37 ) Ab C #b ! C%ma37 ) C% #% !% B% A>susR ) A D # ! B B7 ) B D% $% A #dim7 ) # ! Bb Db !dim7 ) ! Bb Db # D7b> ) D $% A C #b D%m7bG ) D% $% A C% Dma37 ) D $% A C%
Chord Substitution = >ydin &ominnt Sc!e A 0er/ common chord substitution in 3a&& is the tritone substitution+ Tritone %R (or bG inter0a" A tritone substitution is the use of a dominant chord that is 6 half steps higher or lower from the original dominant chord + Tritone substitutes are usefu" for both chorda" p"a/in' and sin'"e note impro0isation+ Ta8e for examp"e the !7 chord) ! D ? The Q most important notes of this chord are the F ( and the b7 (? (if /ou didn*t 8now this a"read/ I su''est /ou read the 'uitar chord tutoria" first+ The F and the b7 of a dominant chord are a tritone apart+ A tritone is a s/mmetrica" inter0a". it is precise"/ in the midd"e of the chromatic sca"e+ This bein' the case we chan'e the F for the b7 and the b7 for the F and fi"" in the E and G to 'et a new dominant chord+ This chord wou"d be Db7) Db ? Ab
(more precise"/) Db ? Ab Cb
So compared to the !7 chord the and ? chan'ed p"aces+ Xnowin' that the ? is the F and the is the b7. it*s eas/ to fi"" in the E and G (a'ain if /ou don*t a'ree with me about this bein' eas/. read the 'uitar chord tutoria" first+
The E is Db and the G is Ab+ Ye"ati0e to the !7 this is a bG and a b>. so this means that the Db7 can substitute an !tered !7 chord+ hat sca"e wou"d /ou p"a/ on the Db7+ The first dominant sca"e that comes to mind is the mixo"/dian sca"e (if this sca"e sounds "i8e Chinese to /ou. read the tutoria" about 'uitar sca"es+ rob"em here is the R of the Db mixo"/dian sca"e) the !b or $%+ This note is the ma3or 7 of !. whi"e we need a b7 for ! dominant+ The so"ution) raise the R ($% with a ha"f step to the %R (!+ A mixo"/dian sca"e with a %R is ca""ed a * !ydin dominnt* sca"e+ It*s actua""/ the Rth de'ree of an Ab me"odic sca"e or the Gth de'ree of a ! a"tered sca"e+ Db 4/dian Dominant
Ye"ati0e to ! (! a"tered sca"e
Db
#b
$
!
Ab
Bb
Cb
E
Q
F
%R
G
=
b7
bG
bEF
b7
E
b>
%>
F
In the dia'ram abo0e /ou can see that Db "/dian dominant ! a"tered Ab me"odic+ Oere*s the !ydin dominnt sca"e on the 'uitar nec8)
The oran'e dots are the chord roots+ If /ou ha0e troub"es findin' the other positions of this 'uitar sca"e. tr/ the 'uitar sca"e finder + Oere are some "/dian dominant ideas)
