{"id":19257,"date":"2019-03-28T00:00:00","date_gmt":"2019-03-28T08:00:00","guid":{"rendered":"https:\/\/www.hearandplay.com\/main\/?p=19257"},"modified":"2024-10-05T05:13:44","modified_gmt":"2024-10-05T13:13:44","slug":"top-three-substitutions-every-creative-keyboardist-must-not-be-without","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/top-three-substitutions-every-creative-keyboardist-must-not-be-without\/","title":{"rendered":"Top Three Substitutions Every Creative Keyboardist Must Not Be Without"},"content":{"rendered":"<p>There are three substitutions every creative keyboardist must know &#8212; especially jazz and gospel musicians.<\/p>\n<p>If you&#8217;ve ever come across a creative musician, one of the things you&#8217;ll notice that he\/she does is to replace a known note, scale, interval, chord, or progression with a related or foreign idea.<\/p>\n<p>This creative process is called substitution.<\/p>\n<p>The 1-chord in the key of C major:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,F,G,A,B,C,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;is the C major seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,,G,B,C,E,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\nReplacing the C major seventh chord with any related or foreign chord means that the C major seventh chord has been substituted.<\/p>\n<p>In this lesson, I&#8217;ll be showing you top three substitutions every creative keyboardist must know. We&#8217;ll be starting off right away with the first one &#8212; which is the tritone substitution.<\/p>\n<h2>Substitution #1 &#8211; Tritone Substitution<\/h2>\n<p>The concept of tritone substitution is connected to the tritone. Therefore, it&#8217;s important for us to refresh our minds on the tritone before we proceed.<\/p>\n<h3>A Short Note On The Tritone<\/h3>\n<p>The tritone is literally three whole-steps (aka &#8211; &#8220;tones&#8221;) away from any given note.<\/p>\n<p>If C is used as the reference:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;a tritone from C would be three whole steps:<\/p>\n<blockquote><p>C to D (is the first whole step):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\nD to E (is the second whole step):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,D,E,,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\nE to F# (is the third whole step):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,E,Fs,,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><\/p><\/blockquote>\n<p>Altogether, C to F#:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,Fs,,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;is a tritone.<\/p>\n<h3>The Concept Of Tritone Substitution<\/h3>\n<p>Here&#8217;s the principle of tritone substitution:<\/p>\n<blockquote><p><em>A dominant chord can be substituted by another dominant chord that is a tritone above\u00a0 or below.<\/em><\/p><\/blockquote>\n<p>In the key of C major:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,F,G,A,B,C,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;one of the strongest progressions is the 5-1 chord progression:<\/p>\n<blockquote><p>The 5-chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=G,F,A,B,E,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\nThe 1-chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,,E,G,B,D,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><\/p><\/blockquote>\n<p>The 5 chord in this case is a dominant chord (the G dominant 13th [add 9] chord precisely) and can be substituted with a dominant chord that is a tritone above or below G.<\/p>\n<p>A tritone below G:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=G,,,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;is Db:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=Db,,,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\nDue to the tritonic relationship between G and Db:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=Db,G,,,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;any Db dominant chord can be used to substitute the G dominant chord. In this example, we&#8217;re substituting the G dominant 13th [add 9] chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=G,F,A,B,E,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;with the Db dominant 13th [add 9] chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=Db,,F,Bb,B,Eb,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\n<strong>Attention:<\/strong> Keep in mind that there are melodic considerations, harmonic implications, and tonal factors that influence the choice of a dominant chord.<\/p>\n<p>Here&#8217;s the 5-1 chord progression after the 5-chord is substituted:<\/p>\n<blockquote><p>5-chord (substituted with the b2 chord):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=Db,,F,Bb,B,Eb,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\n1-chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,,E,G,B,D,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><\/p><\/blockquote>\n<p>I&#8217;m doubly sure that you love the tritone substitute (the Db dominant 13th [add 9] chord) and its resolution to the 1-chord (the C major ninth chord).<\/p>\n<p>Sounds jazzy, huh?!<\/p>\n<h2>Substitution #2 &#8211; Idea Substitution<em><\/em><\/h2>\n<p>In the concept of chord based idea substitution, melodic ideas (runs, licks, etc.,) that are associated with a given chord quality are replaced by ideas of a different chord quality.<\/p>\n<p>For example, playing a C major seventh run over the F# half-diminished seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,Fs,A,C,E,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;is based on the concept of idea substitution.<\/p>\n<p>Take a closer look.<\/p>\n<h3>Chord Based Idea Substitution<\/h3>\n<p>There are five common seventh chord types:<\/p>\n<blockquote><p>Major seventh<\/p>\n<p>Minor seventh<\/p>\n<p>Dominant seventh<\/p>\n<p>Half-diminished seventh<\/p>\n<p>Diminished seventh<\/p><\/blockquote>\n<p>Major chord melodic ideas can be substituted with minor chord ideas, half-diminished seventh ideas, dominant chord ideas, etc.<\/p>\n<p><em>&#8220;Here&#8217;s An Example Of The Relationship Chord Qualities&#8230;&#8221;<\/em><\/p>\n<p>All C major seventh ideas:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,E,G,B,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;are related to the following seventh chords:<\/p>\n<blockquote><p>A minor seventh:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,A,C,E,G,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\nF# half-diminished seventh:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,Fs,A,C,E,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\nD dominant seventh:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,D,Fs,A,C,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\nG# diminished seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,Gs,B,D,F,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><\/p><\/blockquote>\n<p>All C minor seventh ideas:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,Eb,G,Bb,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;are related to the following seventh chords:<\/p>\n<blockquote><p>Eb major seventh:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,Eb,G,Bb,D,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\nA half-diminished seventh:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,A,C,Eb,G,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\nF dominant seventh:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,F,A,C,Eb,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><br \/>\nB diminished seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,B,D,F,Ab,&amp;color=6699FF&amp;size=2\" border=\"0\" \/><\/p><\/blockquote>\n<p>In a subsequent lesson, we&#8217;ll explore other chord based relationships and substitutions.<\/p>\n<h2>Final Words<\/h2>\n<p>These substitutions have gained common place in jazz theory and practice because of the creative outcomes they create.<\/p>\n<p>It is recommended that you listen to notable players (like Art Tatum) who explored tritone substitution, idea substitution, and chord quality substitution.<\/p>\n<p>See you in the next lesson.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>There are essential substitutions that every creative keyboardist must know. Find them out in this lesson.<\/p>\n","protected":false},"author":9,"featured_media":22349,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[416,21,22,9],"tags":[17,2607,2770,2771,2695,661,700],"class_list":["post-19257","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-experienced-players","category-gospel-music","category-jazz-music","category-piano","tag-basic-songs","tag-chord-quality-substitution","tag-creative-keyboardist","tag-creative-keyboardists","tag-idea-substitution","tag-tritone-substitution","tag-tritone-substitutions","post-wrapper","thrv_wrapper"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Top Three Substitutions Every Creative Keyboardist Must Not Be Without - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"There are essential substitutions that every creative keyboardist must know. 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