ExamplE1a–1C TRITONE Substitution
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.