Intermediate: February 2010 Archives

Diatonic Substitutions - Part II

By
Vince Lauria
on February 12, 2010 8:30 PM | | Comments (0)
Any of the twenty eight modes or the other scales covered can be replaced with any chord in its own family of chords. Example the C major scale (Ionian mode) can be replaced with its other chords created from the same scale.
See examples:

3 notes = C, E, G,                = C major

4 notes = C, E, G, B             = C major seventh 

5 notes = C, E, G, B, D         = C major ninth

6 notes = C, E, G, B, D, F     = C major eleventh

7 notes = C, E, G, B, D, F, A = C major thirteenth

 

Other common major chords:

(Major also written as Maj or triangle)

 

C maj 6th                          = C, E, G, A

C maj add 9th                   = C, E, G, D

C maj 6/9                          = C, E, G, A, D

C maj 7/6                          = C, E, G, B, A

 

C sus                                = C, F, G

C sus 2                             = C, D, G

C maj sus 2/7                   = C, D, G, B

Any of these chords can replace the C major chord (C/R, E/3rd, G/5th) with the above chords.


This also applies to minor chords. See example with the A minor chord: (The Aeolian mode is also known as the relative minor to C major)

3 notes   = A, C, E                   = A minor                                             (Am)
4 notes   = A, C, E, G               = A minor seventh                                (Am7)
5 notes   = A, C, E, G, B           = A minor ninth                                    (Am9)
6 notes   = A, C, E, G, B, D       = A minor eleventh                              (Am11)
7 notes   = A, C, E, G, B, D, F   = A minor eleventh add flat thirteenth    (Am11/b13)

Other common minor chords:
(small m means minor - also / means to add those 
additional notes to the original 3 note chord)

Am/9             = A, C, E, B
Am/11           = A, C, E, D
Am7/11         = A, C, E, G, D
Am7/b13       = A, C, E, G, F
Am9/b13       = A, C, E, G, B, F
Am7/11/b13  = A, C, E, G, D, F

Am/b6           = A, C, E, F
Am/b6/9        = A, C, E, F, B
Am/b6/11      = A, C, E, F, D
Am/b6/9/11   = A, C, E, F, B, D

Am7+             = A, C, F, G
Am7+/9         = A, C, F, G, B
Am7+/9/11    = A, C, F, G, B, D

Any of these chords can replace the A minor chord 
(A=Root, C=flat third, G= fifth) with the above chords.

This also applies to dominant chords. See example with the G dominant chord: (These chords are created from the C major scale also. Based on the fifth degree of the C Major scale)

3 notes = G, B, D                     = G major                           (G)
4 notes = G, B, D, F                 = G dominant seventh         (G7)
5 notes = G, B, D, F, A             = G dominant ninth            (G9)
6 notes = G, B, D, F, A, C         = G dominant eleventh      (G11)
7 notes = G, B, D, F, A, C, E     = G dominant thirteenth    (G13)


Other common dominant chords:
(dominant also written as 7)


G7/6th                                  = G, B, D, F, E
G maj 6th                              = G, B, D, E
G maj add 9th                        = G, B, D, A
G maj 6/9                              = G, B, D, E, A

G sus                                      = G, C, D
G sus 2                                   = G, A, D

G7 sus                                    = G, C, D, F
G7 sus 2                                 = G, A, D, F
G7/6 sus                                = G, C, D, F, E
G13 sus                                  = G, D, F, A, C, E

(remember 6 functions also as 13)

Any of these chords can replace the G dominant chord (G/R, B/3rd, D/5th, F/b7) using the above chords.


Now transpose these to each position (register) of your instrument, then to all 15 keys.


All materials copyright 2010. For personal use only.
Vince Lauria Sun and Earth Music.

Diatonic Substitutions - Part I

By
Vince Lauria
on February 11, 2010 10:27 PM | | Comments (0)

Using the C major scale (Major Key Substitutions) lets look at the most common diatonic (within the scale) substitutions.

Original progression:   C ////  F //// G //// C ////
First substitution:        Am //// F //// G //// C ////      (replace C major with A minor)
Second substitution:    Am7 //// F //// G //// C ////     (replace C major with A minor seventh)
Third substitution:       Em ////  F //// G //// C ////     (replace C major with E minor)
Fourth substitution:     Em7 ////  F //// G //// C ////   (replace C major with E minor seventh)

The Tonic or I chord (C major chord) can be replaced with the iii, Em or Em7 or the vi, Am or Am7. 

Original progression:   C //// F //// G/// C ////
First substitution:        C //// Dm //// G //// C ////      (replace F major with D minor)
Second substitution:    C //// Dm7 //// G //// C ////     (replace F major with D minor seventh)
Third substitution:       C //// Am //// G //// C ////      (replace F major with A minor)
Fourth substitution:     C //// Am7 //// G //// C ////    (replace F major with A minor seventh)

The Subdominant or IV chord or F major can be replaced with the ii, or vi chords i.e. Dm, Dm7 or Am, Am7. Also Dm or Am with F major.

Original progression:   C //// F //// G/// C ////
First substitution:        C //// F //// Bo //// C ////       (replace G major or G7 with B diminished)
Second substitution:    C //// F //// Bm7b5 //// C ////  (replace G major or G7 with B minor seventh flat fifth)

The Dominant or V7 (G7) or V (G) chord can be replaced with the Diminished chord viio - 
B diminished or B minor seventh flat fifth. 
Also Bo, Bm7b5 can replace the G or G7.



Using the A minor scale (Minor Key Substitutions) lets look at the most common diatonic (within the scale) substitutions. A minor is the Relative Minor also called the Aeolian mode.

The Im (minor seventh) replaced with the (b III) Major or Major Seventh
Original progression: Am7//// Dm7 //// Em7 //// Am7 ////                                                    
Substitution progression: Cmaj7 //// Dm7 //// Em7 //// Am7 ////
 

The IVm (minor seventh) replaced with the (Viio) Diminished or Minor Seventh Flat Fifth
or the (bVI) F major or F Major Seventh
Original progression: Dm7//// Em7 //// Am7 ////                                                    
Substitution progression: Bo //// Em7 //// Am7 ////
or Bm7b5 //// Em7 //// Am7 //// or 
Fmaj7 //// Em7 //// Am7 ////

The Vm (minor seventh) replaced with the (bVII) G Dominant Seventh
Original progression: Dm7//// Em7 //// Am7 ////                                                    
Substitution progression: Dm7 //// G7 //// Am7 ////

The Vm (minor seventh) replaced with the Dominant Seventh or Diminished or Diminished Seventh 
Original progression: Dm7//// Em7 //// Am7 ////                                                    
Substitution progression: Dm7 //// E7 //// Am7 ////

Original progression: Dm7//// Em7 //// Am7 ////                                                    
Substitution progression: Dm7 //// G#o //// Am7 ////
or Dm7 //// G#o7 //// Am7 ////




Now transpose these to each position (register) of your instrument, then to all 15 keys.


All materials copyright 2010. For personal use only.

Vince Lauria Sun and Earth Music

Eight Most Common Blues Scales For Improvisation

By
Vince Lauria
on February 10, 2010 9:01 AM | | Comments (0)
When soloing over most minor, dominant of or some major chords the blues scale is a great way to solo without spending years to match every chord and scale. Also the blues scale is very expressive and a a lot of fun to play with. The below examples are presented in C blues. This means the C note is the root, key or starting note.

Record or have a friend play this standard twelve bar blues in C then play the different Blues Scale Forms. Remember to first play - quarter notes - refrain from playing at a tempo where each note is not clean. Once comfortable gradually increase speed and move to eighth notes. 
Listen how each scale form brings out a different feel. 
12 Bar Blues in C:

C7 //// //// //// //// F7 //// //// C7 //// //// G7 //// F7 //// C7 //// G7 ////                                            
Repeat progression twenty minutes or more. 
C7= C, E, G, Bb
F7=  F, A, C, Eb
G7= G, B, D, F


C Blues Scale 1. =   C,  Eb, F, Gb, G, Bb,  C
Number formula  =  R, b3, 4, b5,  5, b7, 1/8  8 = octave same note eight scale tones distance

C Blues Scale 2. =   C, D, E, F, G, A, Bb, B,  C  (sometimes called the bebop dominant blues scale) 
                             R, 2, 3, 4, 5, 6, b7,  7, 1/8

C Blues Scale 3. =   C, D, Eb, F, Gb, G, Bb,  C
                             R, 2, b3, 4, b5,  5, b7, 1/8

C Blues Scale 4. =   C, D, Eb, F, Gb, G, A, Bb,  C  (also called the Dorian flat five scale)
                             R, 2, b3, 4, b5,  5, 6,  b7, 1/8

C Blues Scale 5 =    C,  D#, E, F, Gb, G,  Bb,  C
                             R, #9,  3, 4, b5 , 5,  b7, 1/8

C Blues Scale 6 =    C,  D#, E,  F, Gb, G, bB, B,  C  (many heavy metal bands use this scale for main themes)
                             R, #9,  3,  4, b5,  5, b7, 7, 1/8 

C Blues Scale 7 =    C, D, D#, E,  G, A,  C
                             R, 2, #9, 3,  5,  6, 1/8

C Blues Scale 8 =    C, D, D#, E, G, Ab,  A,  C
                             R, 2, #9, 3, 5, b13, 6, 1/8


Remember as always transpose to all keys and try any and all fingering combinations.






Now transpose these to each position (register) of your instrument, then to all 15 keys.


All materials copyright 2010. For personal use only.

Vince Lauria Sun and Earth Music

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