substitution – modern music theory and application

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jazz-fusion-reharmonisation-triads-example

Hi Guys,

Today we will have a look at re harmonising with extra dominant substitutions and a chord ii variant…..

jazz-fusion-reharmonisation-triads-example

The first bar employs a C6/9 in place of the basic tonic chord of C major.

Also, note that this has a 3/4 time signature and starts with an up beat.

The next two bars alter the Dominant chord of G7. This is achieved by thinking of G as a 1st inversion and changing the harmony on top.

The BbmMaj7/B has the flattened 3rd like a #9 a flattened 5th [altered] but has the 9th and the 7th of G7. The first 4 notes of the improvised line establishes the BbmMaj7/B harmony whilst the next eight notes employ the A whole tone scale.

The next substitution is a Db chord over the B bass establishing the flattened 5th and a flattened 9th. But, what is really happening is that we are taking a triad a tritone away form the dominant chord G7 and superimposing that on the B [as a 1st inversion] bass note.

Next, we use a chord ii substitution. Again, thinking of F as the bass [1st inversion] we play an E triad over the top. This has the raised 6th and the flattened 5th as a sort of m7b5/Dorian mix.

The final Dominant substitution employs another triad from G altered. This time we use the Eb triad over the B [as 1st inversion] bass. [This has an added 9th acting as the 7th note of G]

Improvised line over the top,

Finally, we arrive back to C6/9

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alterd-harmony PDF RE-HARMONISATION Download

CHORDS PDF:

triadsbass chords Download

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John McLaughlin iii Vi ii V7 I Jazz Guitar Line/Alternate Picking Exercise Lick

Please watch above video for detailed analysis:

Hi Guys,

This is a concept for creating longer alternate picking improvisation lines. What makes it more useful and more enjoyable is the fact that you can substitute the iii Vi ii V7 I chords.

EXAMPLE:

iii Vi ii V7 I-jazz-guitar-mclaughlin-lesson

There are lots of variations on this. For instance we could add Db7 or DbMaj7 in bar 5 and have it resolve down into a CMaj chord.

Here is the first bar: Notice the use of 4ths and side stepping. The scale is A melodic minor based.

Bar 2: Notice the use of chromatics which are originally set up like approach notes. These are easy to finger and alternate pick rhythmically.

Bar 3: This is pentatonic based whilst highlighting the #11 note:

Bar 4: This bar employs an Ab melodic minor leaning for the G altered sound:

Final Bar: Notice that this bar resolves to a B natural for the CmMaj7 chord:

PDF DOWNLOAD:

john-mclaughlin-guitar3-6-3-5-1 mclaughlin guitar Download

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Author: Clifford Martin Musical Artist: Guitar Gti

Modern Music Theory

Clifford Martin is a trained classical musician and composer. His 1st study being piano and composition and a deep study into the meticulous world of modern music theory. He also studied jazz piano and jazz drums privately. Clifford later came back to the guitar and studied in the jazz fusion style of John McLaughlin and Al di Meola. It was at this point that he put all of his years of learning together into one musical form This website is a sort of cataloging of ideas and musical concepts for exploitation and development in the arts of musical composition and improvisation. What started out as a jazz improvisation site has grown into a full blown, harmony, timbre, pitch and rhythm library. Peace, Enjoy!