ChORD CAMP

Ex­plor­ing the power of three, Colonel Iain Scott goes ‘far out’ with a look at tri­tone substitution. Be pre­pared to put your think­ing caps on for this one!

Guitar Techniques - - CONTENTS -

Iain Scott ex­plores the power of three with a look at tri­tone substitution.

Tri­tone substitution is a har­monic tech­nique that can be used to cre­atively mod­ify chord pro­gres­sions, ei­ther when play­ing rhythm gui­tar be­hind a soloist, for cre­ative substitution in a chord melody ar­range­ment, or as a ba­sis for im­pro­vi­sa­tion. The ‘tri­tone’ is the dis­tance be­tween two notes that are three tones (two semi­tones or two frets)

C-D-E-Gb, apart. So, in the run ofb notes, the dis­tance be­tween C-G is a tri­tone. This may not seem too ex­cit­ing so far, but wait un­til we ap­ply this har­mony to Dom­i­nant 7th chords. Ini­tially, there doesn’t seem to be much

aGnUdIaTADRb7 con­nec­tion be­tween a G7 cThEoCrdH,NbIuQtUES on closer in­spec­tion you will see that they share two very im­por­tant notes, the 3rd (B) and the (F) and, in­ter­est­ingly, these swap over be­tween the two chords: G7 (R-3-5- 7) = G-B-D-F

‘changed’4to D 7 (R-3-5- 7) = D -F-A -B If both chords are then dom­i­nan¢t 7 5 chords then they be­come iden­ti­cal: G7 5 (R-3- 5- 7) = G-B-D -F D 7 5 (R-3- 5- 7) = D -F-G-B

Jazz mu­si­cians have de­veTl­roit­poen­de­thSeut­br­sit­toit­nue­tion con­cept to in­clude the har­mony of Melodic Mi­nor, Di­min­ished, Aug­mented and Har­monic Mi­nor scales or sounds. This is a vast aGr7ea that will re­quire a lot of space to cover, but here are a cou­ple of ex­am­ples to start you off. These are sim­ple ‘root changeover’ sit­u­a­tions but you can also move the top notes™for

dif­fer­ent voice-lead­ing set-ups. There’Ss a lot toSle3arn, so please ex­per­i­ment.

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