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Chord Substitution
Chord Substitution
For this same reason chords can be substituted. If the substitute chord contains the 3rd and the 7th
of the substituted chord, the two chords will have a similar feel and so can act as substitutes for each
other. The ve most common chord substitutions found in Jazz are shown below.
Am7 CMaj7
FMaj7
G7 Em7 A7 | Dm7 G7
II7-V7 Substitution G7 D7 G7
G7 E7 A7 | D7 G7
So we nd that a sad chord (Em7) also sounds like a happy chord (CMaj7), which is interesting.
Chord Ambiguity
So again we nd that chords are very ambiguous. They depend on the note that’s being played in the
bass (the bass-note) and on the chord that’s played before and after that particular chord (the chord
progression).
For example, let’s take the notes E G A and C. Now, these four notes can be:
a C6 chord (C E G A);
an Am7 chord (A C E G); or
a Rootless FMaj9 chord ([ ] A C E G).
And the only way to tell the di erence is by looking at the chord progression and at the bass-note.
The most common chord progression that establishes the tonic chord is a V-I perfect cadence. So if
we have:
a G7 going to that collection of notes (C E G A) with a C in the bass, then we have a C6;
an E7 going to that collection of notes (C E G A) with an A in the bass, then we have an
Am7;
a C7 going to that collection of notes (C E G A) with an F in the base then we have an
FMaj9.
In Practice
Notice that Bo7 (B D F A♭) is the same chord as G#dim7 (G# B D F) only from a di erent root note.
Diminished chords (http://www.thejazzpianosite.com/jazz-piano-lessons/jazz-scales/diminished-scale/)
repeat every minor 3rd interval. This was done so the bass notes moved smoothly (i.e. in small intervals)
and didn’t jump around too much.
We will discuss chord substitution in much more detail when we learn about Jazz Reharmonization
(http://www.thejazzpianosite.com/jazz-piano-lessons/jazz-reharmonization/).
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