Jazz Chord Substitutions Explained
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- čas přidán 6. 06. 2024
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What are "chord substitutions," and how can they be used to spice up your jazz chords and solos? Let's talk about the 5 different kinds of jazz chord substitutions you need to know.
CHAPTERS:
00:00 Intro
00:12 What are chord substitutions?
01:15 #1 Chord substitution
03:19 #2 Chord substitution
05:22 #3 Chord substitution
07:35 #4 Chord substitution
19:09 #5 Chord substitution
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Holy smokes! This is EXACTLY what I've been looking for!
I'm not even playing guitar: I'm a piano player but this explanation of jazz theory is outstanding. Very clear and really straight forward! I could watch this content every day HAPPILY!
Thank you so much!
Thank you!
Great lesson....as a jazz-fusion guitarist myself I always look for new ways to learn and incorporate these notions constructively into my playing. Personally, I noticed that the more you adopt chord substitutions, the further away you get from the "feel" you're trying to express with a chord progression you come up with (so, not necessarily the typical 1,6,2,5), BUT at the same time, being an avid Pat Metheny fan for over 40 years, I couldn't help but noticing the way he uses substitutions in different renditions of his own songs, STILL managing to maintain the overall meaning of the message or the atmosphere of the piece he's playing. I suppose my point is YES, do use chord subs, but be careful on how to use them, try to not abuse them, as I notice some jazz-fusion musicians do, just for the sake of "Hey look how good and articulate I am!".... 🙂
FANTASTIC lesson. Thanks. Bill Evans did these sort of substitutions SOOOOO cleverly.. subtly and aesthetically. THank you for this lesson.
Glad you enjoyed it! Bill Evans was a master at this
i have heard this explained to me for 30 years. Your explanation is the best that i have heard yet, very informative. Thank you.
Wonderful!
THANKS! Don't worry about going too fast or whatever. We can back it up and watch again what we didn't get the 1st time.
GREAT lesson! Thanks, again!
Trumpet player trying to understand what’s going on when I hear “good comping” love this video. Keep making educational content like this. I can’t wait to watch more of your videos
Excellent excellent excellent, one of the most helpful videos in my jazz guitar education I have found so far thank you.
Glad it was helpful, thank you!
Cool. Just a catch detail. On the 1 4 3m 6m 2m 5 you gave them all the same time value. The 2m 5 should’ve been twice as long.
Thanks for pointing this out! On the music the 2 and 5 are four beats, but I play them two beats. Typically that chord progression would have them two beats long like I played it. But all could be four beats as well
Hmm, you’re substituting over a 4 bar phrase so I would think you’d want it to remain a 4 bar phrase. All good, though
@@vicormule735I found one!
Noticed it too , but I suppose he was just showing us the chords there, and not how to play them in time.
@@Learnjazzstandards the problem with this explanation is that, if you do not maintain the common ground of “4 bars of music” … you’re not actually practicing chord substitution. You have to maintain form and time feel. Let’s get that straight!
It's so nice to hear this and understand everything you are talking about. This all sinks in after a while. Very different from when I first started watching all these videos online.
I would not have had the chance to learn this. I'm 72 and it's the first time
I've gotten it. Thanks for the guidance.
Really helpful. This sums up 4-5 different concepts that help been perpetually confusing to me. Thx!!
I dont know about total beginners, but for me, as somebody who has mostly studied classical theory and not much jazz theory, you made it make so much sense to me.
This is why I love jazz. The creative potential is insane
I've never seen an accurate tutorial that's better than this. This is so straight to the point
Thank you! I'm glad you find it helpful.
Great lesson, Brent! Very concise and clear - thanks for posting this 👍🏻
Thank you, Donna!
A very neat summation of common jazz/blues chord substitutions! It takes me a lot longer to go through these concepts with my students!
great item, nicely compact and concise. without it becoming messy or unclear. well done and thanx!
I feel like a lot of these chord substitution don’t need to entirely replace the chords. Mainly because the chord progression you used to work on was simple for the sake of explaining but like you could keep the chord the same for the first two beats and then sub them for the last two beats of a measure. For example I think in bar two you could do two beats of Am7 and two beats of A7 which both utilized the secondary dominant but also the chromatic motion of the third going from C to C# to finally D as the home.
Absolutely amazing lesson dude! Thanks so much, you are really the best! It would be very useful when you also show a freeboard graphic with the chords you are using 💜
This is the best lesson I've found on this talk so far 💯
Yo that back door dominant sound was fire. I like reharming lady bird with a circle of fifths from the bIII in the turnaround to the bVII at bar 4.
this is really good!! thank you for this video
Thank you so much for helping me understand the chord subs that I never understood before🙇♂
Thank You much, Great Lesson, will applying, ❤❤❤❤❤
Very helpful. Thanks for the video!
Best explanation ever!
Wow, thanks!
Where is the explanation of the Autumn Leaves chord subs in the thumbnail? They are very interesting.
You are a great teacher thank you 🙏
Wow 😮 and thankyou so much for this simpliest yet effective ideas. Really appreciate. Lots of thankssss from India❤❤❤
My pleasure 😊
Beautiful guitar sounds.
Thank you so much!
So great explanation. Thanks!
Thank you!
Thanks,very useful!
This is the first time I understand all of these concepts so easily ✊
Great review!
Great video. Explanations are very clear and concise! 👌
Glad you liked it. Thanks!
I agree ,great lesson.
Well done mate. It is a relief to see young people demystifying this stuff for the generations to come. Very clear and concise information. Thanks you got me subscribed.
Much appreciated
Thank you, Brother 🌹😎🌹
Thanks!
I can interpret a large part of the function of these substitutions from your expressions while playing em. Haha love it, great video altogether I learned a hell of a lot
Very well done 👍.
Amazing video, thank you so much!!
Glad you like it!
감사합니다. 많이 배워 갑니다.^^
Thanks very from the inner of my heart.
This lesson enlightened more my chords knowledge and stuff.
Can you share also the thematic about improvisation on chords substitution on C A D G progression.
Thanks in advance!
Well explained
This video reminds of that song from McDonald’s. Because IM LOVING IT!
This is amazing. I'm learning jazz guitar now. The big issue is getting this stuff into my brain. Being able to identify things on the fly.
Great video!
Thanks!
this vidio convert complex data to not complex data
very good leasson
Where’ve you been all my life. I finally understand.
Impecable
Thnx mr master
Very good sir!
Thanks!
excellent goos sir Brent !!
Thanks!
that's a great lesson. you got a new subscriber.
Thank you!
Muito bom !
Excelente video... Muchas gracias, like, suscripción y activada la campanita de notificaciones, saludos cordiales desde Lima-Perú 🇵🇪
👍👍 it's good for kids
This is sooo goooooooooooooooood.
Such valuable information! Question: when improvising over the various substitutions how does it sound when you play lines that relate to the original, non-substitution chord?
Spicy 😊. Seriously, though, you should just try it and hear with your own ears. You could start with a very simple example that illustrates the emphasis on different chord tones. E.g., in Brent's example, you could just play do, re, mi (C, D, E) over each chord of the I vi ii V progression and listen to how different chord tones are emphasized depending on the chord being played. E.g., on the ii chord (Dmin7), the 7 and 9 are emphasized which adds more color/tension than when playing the same notes over the C chord. It gets more complex, of course, when you play non-diatonic harmony, but you could try a similar exercise with a more complex progression.
A lot of it is determined by the harmony you want to imply, and skilled improvisors take into account the harmony of phrases rather than of just a single chord.
Jerry Coker Jazz improvisation. The real bible of understanding jazz chords and more.
I'm still a noob with music theory, but this was such a great explanation
God bless tritone subs there is the jazz core❤
Perfectly presented and paced! Please NOTE: You said that Bb7 is the back door dominant of G7 (and I believe you meant of C).
It would be interesting to talk about how substitutions work with the other instruments, particularly the bass.
The diatonic substitution in the first example seems straightforward. If the bass still treats that bar as Cmaj7, playing Emin7 over Cmaj7 just turns it into Cmaj9.
For some of the other substitutions, though, it seems you would need to plan ahead, hope the other musicians have very big ears, or enjoy some very spicy sounds.
fun stuff.
Whew, I am almost getting this...would be helpful for you to please show hand positions more clearly....thanks!
The question is: do you still improvise diatonically over the substitutions (as if they weren't there basically) or are you now forced to improvise on the new changes? and, conversely, can you use substitute arpeggios to improvise over a I vi ii V?
As long as you resolve/land on a chord tone in the progression, you’re good.
you work with the new progression.
I was a student in the prior century. I've forgotten all the *why* of subs. It's all been reduced to alt Dom7 subs, tri tone sub, and symmetric dim scale theory. I kinda always think in dim chords a half step apart... Putting this in my study folder. Thanks.
Awesome!
What is the guitar you use in the video?
It’s a custom Victor Baker
great thx so understandable.... let's substiute
Glad you found it helpful!
Nice victor baker
Thank you!
Hi , how come Fmin7 a two? In the backdoor dominant example?
djspexx1, He was treating the Bb7 chord as if “IT” was a 5 (V).
And counting backwards from the Bb [5 or V7],
5 to the 4 is one step down Ab [4 or IV],
4 to the 3 is a half step down, G [3 or iii min],
3 to the 2 is one step down “F” [2 or ii min].
Adding the minor 7 note to Fmin,
he gets “Fmin7” (2) - Bb7 (5).
Nice Victor Baker archtop.
Thanks!
What is Bb7 the secondary dominant of? It looks like this was borrowed from the relative minor using the Eb as your reference note to get the Fmin7 to the Bb7. Is this the way to think of it?
I would recommend examining the concept of chord substitution, from the perspective of harmonic movements. In example: substitute |D-7|G7| for two bars of Gsus4. (RULE: substitute a “2 5” movement with a sus chord build off the root of the “5”. ) you could sub an entire 3625 with just a long sus4 chord. A more modern technique, but used by early luminaries. A well rounded explanation of chord substitution should touch on the concept of “pedaling a bass note”. A bass player can suggest to an improviser, a “chord substitution”, on the fly (often with the use of a ‘pedal tone’)
Thank you for your efforts in educating aspiring jazz musicians 🙂
I love chords and the subs. However I have a hard time understanding how the subs are done. While your demo helps put it in use I don't have a solid idea of how to choose the right subs. I have to let the music and sound guide me to what's right.
Dude! It was fucking brilliant and of a great use!
Something occurred at 2:30 that I do not understand. Can you kindly explain how and why you substituted a Aminor7th with a Eminor7th ? What was the process for choosing the Eminor7th ? Is there a formula or something?
Hi, I didn't quite understand what makes Fmin7 the 2chord in the backdoor dominant example. Would appreciate a brief explanation, thanks!
Im confused in that part aswell, wouldnt the 2 be the Dm7 ??
I think whats hes doing is that since the Bb7 is the dominant of E then the Fmin7 is the two of E
But im just guessing
right, i am confused to where he got f-7 as the 2 chord, you and i are the only ones who caught it. That is from all the comments below the video.
At 9:45 you called the Fmin7 a “two” but what is that in relation to? It’s the iv to the C and the v to the Bb right? It would be a ii to an Eb but there isn’t one
it's a ii7(two) in relation to the Eb tonality that Bb7 is borrowed from. The Bb7 resolves to a different place (C), but we connect the F-7 to the Bb7 because they share a key. We could call the F-7 the iv of C in the same way we could call call Bb7 the bVII7 of C, but it' easier to think of it as a ii7-V7 in the new key (Eb) which we momentarily drift into.
4:12 I am a bit confused by the statement that A7 tonicizes Dmin7 by being the V chord for the Dmin key center.
Diatonic chords in the key of Dmin are:
Dmin7-Emin7b5-Fmaj7-Gmin7-Amin7-Bbmaj7-C7
So the Amin7 as the fifth of the Dmin key should already provide a tonic feel for Dmin7.
Wouldn't A7 tonicize a Dmaj7 chord instead?
What am I missing here? I would very much like to understand this.
6:40
9:46 Why is the Bb7 the secondary dominant of Cmaj7? isnt it a back door dominant? and why the Fmin7 is the ii chord?? isnt Fmin7 the V of Bb7?? I dont get it.
Omg what guitar is that?
Mostly I say, it’s for easier transitions with guitar chord shapes
i like your guitar what kind is it?
Thank you! It's a custom-made Victor Baker. You can find the details in this video:
czcams.com/video/ym2XbAVD9Ec/video.html
The example you use for the first type, diatonic substitution, is a iii7 chord, but the following chord is a vi chord. So really, this is identical to the second kind of substitution, since E is the dominant fifth of A right? I think you mean to say that we could substitute ANY diatonic chord for any of the others and this would be an example of it, but it is a bit confusing since the chord you picked ends up doing nothing more than the retonicizing substitution would.
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My way of thinking about a tritone sub may not technically be correct. But I always just think of it as a dominant 7th chord that’s a half step above the target chord. I mean that’s how the voice leading works that way too. So I’ve always just thought of it like that
Easy and correct way of thinking
@@cesargomezu1459 to me theirs just a lot more thinking involved with how it’s usually described “go to the V chord, then go a tritone above that chord, and make it a dominant 7th chord”
@@heiro9611 totally. We can deeply understand and that's great, and we can also have a fast practical way of doing it on the spot ✅
That is correct Your just not trying to break it down .. g7 to c r c# 7 to c ….😊
Can someone explain to me why the Fmin7 is a ii chord in Cmaj7-Fmin7-Bb7?
9:44
Yeah, I have the same question; I thought the F was the iv chord (in relation to C) but “minored” ???
It comes from the flat 3 key of the target which is eventually leads back to Cmaj. This makes a
G Phrygian as an altered dominant (G dom. b9 b6) without the natural third. Key of
Eb unresolved. Throw the natural 3rd into the G dom. and you now enter a new mode.
Harmonic minor.
can i treat this progression 1-6-4-5 same meaning as this 1-6-2-5 for further development？or 1-6-4-5 is another jazz chord theory？
They’re essentially the same. Notice how 3/4 of the notes in the 2 chord are also in the 4 chord. I believe in classical music theory both are considered “predominant” chords because they anticipate the 5 dominant chord. They basically are different ways of achieving the same harmonic function.
Whose II is that Fmin7?
You say Bb7 is the secondary dominant. But of what? Also how is Fmin7 a two?
4:20
9:55 not sure why the Fm7 is a 2?
Does he mean the Bb7 is acting as a 5, therefore making the Fm7 its 2 chord?
Thanks to the song Black Sabbath, I know what a tritone is 😂
this is not jazz theory this is just music theory
Very cool. The diatonic reharm thing is interesting; I've noticed Freddie Hubbard using it in more of a modal approach, e.g. playing an F major triad over B half dim.(II chord in A-minor ii-V-i); if you are thinking of B locrian on the B half. dim., then F major (lydian) can be thought of as a diatonic reharmonization. Of course, the rhythm section could voice the B half dim with C# (super-locrian), so that creates chromatic tension. Interesting topic, thank you!
3:10 The first four chords take two beats, and each of the two last two chords take one beat. But it isn't how you play it. Why?