![]() So I’m going to go over five important ones today that you should check out, and this can be helpful to go check out the show notes today which is, you can find that at /96, nine, six, and you can check all that out there.Īnd also this is based off of, we also have a blog post associated with today’s podcast episode, and I will be sure to link to that in the show notes which will be a lot more thorough if you really want to check all of this out, but I’m going to have plenty of audio examples for you today and I’ll explain things and everything should be cool whether you’re out on your run, out on your commute and you’re not at the computer, so don’t worry about that. There’s a lot of crazy, cool diatonic things, very colorful things happening in jazz harmony, but oftentimes jazz musicians like to go even further than that and add other substitutions to those chord progressions to add even more harmonic movement or just simply swap one chord out for the other to try to get a different color, a different sound in there. Now jazz musicians, they are always messing around with chord progressions, right? If it wasn’t hard enough, jazz harmony tends to be a little bit more complex than say, pop or rock harmony and folk music and things like this. You can’t find that at, and this lesson comes straight out of that and today’s episode 96 is all about important chord substitutions that you need to know in jazz. Now this lesson comes straight out of our e-book which, by the way, I looked up at the numbers the other day and over 1,000 people have downloaded and are using this book to help their jazz playing. And I know you’re going to get a lot of value out of today’s episode, and today’s episode is actually a little bit of a theory lesson, a jazz theory lesson. Welcome back if you are a regular listener and if you are listening for the very first time, I’m really excited to have you here, checking this out, hanging out with me. I am the jazz musician behind the website, which is a blog and a podcast all geared towards helping you become a better jazz musician. LJS 92: How to Use Tritone Substitution In Your Jazz Improvįree Guide to learn standards by ear: Learn Jazz Standards the Smart Way Read the TranscriptĪll right, what’s up everybody? My name is Brent. If we were to make the VI chord into a dominant7(b9) chord it would share all of the important notes except the bass note of the chord, with the C#dim7.ĥ Jazz Chord Substitutions You Need to Know Note: a dominant 7 can be altered (b9,#9, b13, #11). Here are the substitutions I talk about: 1. I will have basic examples in the show notes today, but if you want to get a lot more detail on these, check out this blog post that today’s episode is based off of. In today’s episode I talk about 5 chord substitutions that you may hear other jazz musicians use and that you should explore for yourself. Regardless, of whether you are a comping instrument or not, you can use substitutions to add more color and movement to your jazz improvisation. When approaching jazz standards and common chord progressions we can consider substituting chords and chord progressions for each other. Jazz standards are already extraordinary vehicles for harmonic exploration, but the very nature of this music allows us to expand upon all of this. One thing I love about jazz music is all of the harmonic possibilities.
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