{"id":18546,"date":"2018-11-12T00:00:00","date_gmt":"2018-11-12T08:00:00","guid":{"rendered":"https:\/\/www.hearandplay.com\/main\/?p=18546"},"modified":"2024-10-05T14:46:27","modified_gmt":"2024-10-05T22:46:27","slug":"top-secret-the-3-5-7-9-principle-of-chord-substitution","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/top-secret-the-3-5-7-9-principle-of-chord-substitution\/","title":{"rendered":"Top Secret: The “3-5-7-9” Principle Of Chord Substitution"},"content":{"rendered":"

Today, I’ll be exposing the “3-5-7-9” principle of chord substitution to you.<\/p>\n

Although there are so many ways to approach the concept of chord substitution, the principle you’re about to learn will blow your mind.<\/p>\n

Attention:<\/strong> This chord substitution principle hasn’t been taught anywhere in the world and this is because “I got it over the shower”<\/em> just like my mentor and role-model, Jermaine Griggs. So, you have to take what you’re about to learn seriously because it can revolutionize your playing if well understood.<\/p>\n

Let’s jump right into it.<\/p>\n

The “3-5-7-9” Principle Of Chord Substitution — Explained<\/em><\/h2>\n

The concept of chord substitution is concerned with the replacement of a given chord by another chord. Although the replacement for the given chord may be related or foreign, there must be a theoretical explanation for the substitution.<\/p>\n

Let’s get started by taking a look at the foundation of the “3-5-7-9” principle of chord substitution.<\/p>\n

\u00a0The Foundation Of The “3-5-7-9” Principle Of Chord Substitution<\/h3>\n

There are four tones in every seventh chord: the first, third, fifth, and seventh tone. In the C major seventh chord:<\/p>\n

C is the first tone<\/p>\n

E is the third tone<\/p>\n

G is the fifth tone<\/p>\n

B is the seventh tone<\/p><\/blockquote>\n

Each of these tones can be associated with numbers like 1, 2, 3, 4, etc. So, in the case of the C major seventh chord, C is the 1, E is the 3, G is the 5, and B is the 7.<\/p>\n

The “3-5-7-9” principle of chord substitution is concerned with the replacement of the 1-chord with other chords that are derived from the consideration of the 1, 3, 5, and 7 as the 3, 5, 7, and 9.<\/p>\n

“Here’s How It Works…”<\/em><\/p>\n

The 1 in the the C major seventh chord:
\n
\n…which is C:
\n
\n…can be considered as the 3, (the 5, the 7, or the 9) of a major ninth chord in another key.<\/p>\n

“Here Are The Possibilities…”<\/em><\/p>\n

The 1 in the C major seventh chord (which is C):
\n
\n…can be substituted with another major ninth chord where C is the 3, the 5, the 9, or the 7.<\/p>\n

The 3 in the C major seventh chord (which is E):
\n
\n…can also be substituted with another major ninth chord where E is the 3, the 5, the 9, or the 7.<\/p>\n

The 5 in the C major seventh chord (which is G):
\n
\n…can also be substituted with another major ninth chord where G is the 3, the 5, the 9, or the 7.<\/p>\n

The 7 in the C major seventh chord (which is B):
\n
\n…can also be substituted with another major ninth chord where B is the 3, the 5, the 9, or the 7.<\/p><\/blockquote>\n

Let’s go ahead and explore these possibilities for the 1 (which is C):<\/p>\n

“The Consideration Of The 1 As The 3…”<\/em><\/h2>\n

The 1 (which is C):
\n
\n…can be considered as the 3.<\/p>\n

So, in what key is C the 3? The answer is the key of Ab major:
\n
\nSo, the Ab major ninth chord:
\n
\n…is the substitute for the 1-chord in the key of C major:
\n
\n…and this is because we’re considering the “1 as 3”.<\/p>\n

The Ab major ninth chord:
\n
\n…is a chromatic chord in the key of C major:
\n
\n…and has only C and G:
\n
\n…in common between Ab and C.<\/p>\n

Therefore, we’ll have to rearrange the notes of the Ab major ninth chord in such a way that either C or G is the highest-sounding note. This gives us these two voicings of the Ab major ninth chord:<\/p>\n

Voicing #1:
\n
\nVoicing #2:
\n<\/p><\/blockquote>\n

Following the same guideline, other substitutes can be derived.<\/p>\n

“The Consideration Of The 1 As The 5…”<\/em><\/h2>\n

The 1 (which is C):
\n
\n…can also be considered as the 5.<\/p>\n

It is only in the key of F major (and minor):
\n
\n…that C is the 5.<\/p>\n

So, the F major ninth chord:
\n
\n…is the substitute for the 1-chord in the key of C major:
\n
\n…and this is because we’re considering the 1 (which is C) as 5 (in the key of F major [hence the F major ninth chord]).<\/p>\n

“The Consideration Of The 1 As The 7…”<\/em><\/h2>\n

The 1 (which is C):
\n
\n…can also be considered as the 7.<\/p>\n

It is only in the key of Db major:
\n
\n…that C is the 7.<\/p>\n

So, the Db major ninth chord:
\n
\n…is the substitute for the 1-chord in the key of C major:
\n
\n…and this is because we’re considering the 1 (which is C) as 7 (in the key of Db major [hence the Db major ninth chord]).<\/p>\n

“The Consideration Of The 1 As The 9…”<\/em><\/h2>\n

The 1 (which is C):
\n
\n…can also be considered as the 9.<\/p>\n

It is only in the key of Bb major (and minor):
\n
\n…that C is the 9.<\/p>\n

So, the Bb major ninth chord:
\n
\n…is the substitute for the 1-chord in the key of C major:
\n
\n…and this is because we’re considering the 1 (which is C) as 9 (in the key of Bb major [hence the Bb major ninth chord]).<\/p>\n

“In A Nutshell…”<\/strong><\/em><\/h2>\n

The consideration of the “1 as the 3”, “as the 5”, “as the 9”, and “as the 7” gave us four substitutes for the 1-chord in the key of C major:<\/p>\n

“The 1 as 3”:<\/p>\n

“The 1 as 5”:<\/p>\n

“The 1 as 7”:<\/p>\n

“The 1 as 9”:<\/p><\/blockquote>\n

Every other tone of the 1-chord (the 3, 5, and 7) can also be subjected to the “3-5-7-9” principle of chord substitution.<\/p>\n","protected":false},"excerpt":{"rendered":"

Explode your chord progressions using the “3-5-7-9” principle of chord substitution.<\/p>\n","protected":false},"author":9,"featured_media":22429,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,416,350,9],"tags":[17,553,216,615,215,2702],"class_list":["post-18546","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-experienced-players","category-music-etc","category-piano","tag-basic-songs","tag-chord-substitution","tag-major-ninth-chord","tag-major-ninth-chords","tag-major-ninths","tag-the-3-5-7-9-principle","post-wrapper","thrv_wrapper"],"yoast_head":"\nTop Secret: The "3-5-7-9" Principle Of Chord Substitution - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"Explode your chord progressions using the "3-5-7-9" principle of chord substitution.\" \/>\n<meta name=\"robots\" content=\"index, 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