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Thread: Chord Substitutions

  1. #1
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    Chord Substitutions

    Here is an example of how chord substitutions can be tied to a bass line. The first chord progression is in Bb below. Think of the progression as a waltz where each chord is played for two measures. (///) (///)

    Bb (///) (///)
    Am7b5 (///) (///)
    Gm7 (///) (///)
    F7 (///) (///)
    Ebmaj7 (///) (///)
    Dm7 (///) (///)
    Cm7 (///) F7 (///)
    Bb (///) D7 (///)

    Now, recognize that the progression is simply a descending chromatic line starting on 1 or 8 and then going down 8-7-6-5-4-3-2/5-1.

    Here is another set of chords you could use to accomplish the same thing:

    Bb (///) (///)
    Cm6 (///) Am7b5 (///)
    Gm7 (///) Gm7/D (///)
    F7 (///) F13 (///)
    Ebmaj7 (///) Ab9 (///)
    Dm7 (///) Dbm7 (///)
    Cm7 (///) B7#9 (///)
    Bb (///) F#m7b5/A (///)

    In the second line, Am7b5 and Cm6 sub for each other. Play them both!

    In the fifth line, playing Ab9 after Ebmaj7 is a natural movement and sounds better.

    In the sixth line, playing Dbm7 after Dm7 continues the descending bass line theme.

    In line seven playing B7#9 for the F7 continues the falling bass line theme.

    In line eight, F#m7b5/A subs for D7 and keeps the falling bass line going.

    So from line five on you end up with bass line of:

    Eb,(Ab),D,Db,C,B,Bb,A.

    ====================

    Food for thought, eh?

  2. #2
    Forum Member BLUELOU's Avatar
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    Re: Chord Substitutions

    Originally posted by Algernon
    Here is an example of how chord substitutions can be tied to a bass line. The first chord progression is in Bb below. Think of the progression as a waltz where each chord is played for two measures. (///) (///)

    Bb (///) (///)
    Am7b5 (///) (///)
    Gm7 (///) (///)
    F7 (///) (///)
    Ebmaj7 (///) (///)
    Dm7 (///) (///)
    Cm7 (///) F7 (///)
    Bb (///) D7 (///)

    Now, recognize that the progression is simply a descending chromatic line starting on 1 or 8 and then going down 8-7-6-5-4-3-2/5-1.

    Here is another set of chords you could use to accomplish the same thing:

    Bb (///) (///)
    Cm6 (///) Am7b5 (///)
    Gm7 (///) Gm7/D (///)
    F7 (///) F13 (///)
    Ebmaj7 (///) Ab9 (///)
    Dm7 (///) Dbm7 (///)
    Cm7 (///) B7#9 (///)
    Bb (///) F#m7b5/A (///)

    In the second line, Am7b5 and Cm6 sub for each other. Play them both!

    In the fifth line, playing Ab9 after Ebmaj7 is a natural movement and sounds better.

    In the sixth line, playing Dbm7 after Dm7 continues the descending bass line theme.

    In line seven playing B7#9 for the F7 continues the falling bass line theme.

    In line eight, F#m7b5/A subs for D7 and keeps the falling bass line going.

    So from line five on you end up with bass line of:

    Eb,(Ab),D,Db,C,B,Bb,A.

    ====================

    Food for thought, eh?
    algi nice stuff bro i like these things real music stuff
    youre really kool bro
    thanx and hi

    lou
    SINCERELY
    BLUELOU
    GODBLESS

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