Ex­am­plE1a–1C TRI­TONE Substitution

Guitar Techniques - - CREATIVE ROCK -

Db7b5 1a. The link from G7 to This shows the link be­tween G7, D 7, G7 5 and, fur­ther up the neck with the

Db7b5 same chord shape, – its tri­tone sub­sti­tute. G7b5 Db7b5 1b. and sym­met­ric chord shapes Here is a set of chord shapes mov­ing across the fret­board in sym­met­ric pairs us­ing four dif­fer­ent fin­ger­ings. Us­ing the first fin­ger­ing shape on the sixth,

G7b5, Db7b5; fifth, fourth and third strings, the first chord is sec­ond is with the sec­ond fin­ger­ing shape on the fifth, fourth, third and sec­ond strings, the

G7b5, third chord is and it uses the same notes as chord two from the pre­vi­ous group­ing. This is be­cause, as we saw pre­vi­ously, they share the same notes. This means that all eight of these chords can be ei­ther G7 5 or D 7 5, as you re­quire them. The CAGED shaped num­bers (S1 S2 etc) re­late to them all be­ing GE7b5 chords. This is the ‘purest’ tri­tone con­nec9­tion, but also one of the most ob­vi­ous. It sounds very aug­mented or whole-tone in na­ture, and can be sim­plis­tic and clumsy if over­bus­bed. But the tri­tone cban­balso be used to changeb in­boe root notes (bassline mo­tion) in a jazz II-V-I pro­gres­sion – re­mem­ber in C Ma­jDor7 play£ a II-V-I is: Dm7-G7-Cmaj7. Us­ing tri­tone substitution we can a D 7 ( II), 5sbub II-¡b2-1 ch¡ords place of the G7. This then be­comes a or 2- –1. The are now Dm7-D 7-Cmaj7 or Dm7-D 7 5-Cmaj7. This im­proves the bassline, mak­ing it chro­matic and mu­si­cally smoother. 1c. Tri­tone har­monic con­ver­sion – G13 to D 7#5#9 Here you can see the chord of G13: G-F-B-E-A – (R- 7-3-13-9). Move the root up a tri­tone and the chord be­comes D 7#5#9 (D -F-B-E-A). (R-3- 7-#9-#5). The II-V-I is Dm7-G13-Cmaj7, then with tri­tone substitution Dm7-D9#5#9-Cmaj7.

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