#1: Chord extensions .

You can always add things to the core notes of a chord - playing C6 instead of C, or G9 instead of G7. Since all of the notes of the original chord are also in the substitution, they retain the original idea of the harmony. misalnya : G Em Bm D7 G jadi GMaj7 Em9 Bm7 D13 G6/9 #2 - Chord simplifications . These are the opposite of extensions - you can use a diminished triad, like B (B-D-F) in place of a 7 th chord a major third lower - in this case, G7 (G-B-D-F). That works because the notes of the diminished triad are completely contained in the seventh chord: Other simplifications can snag just a portion of the original chord - if D9 (D-F#-A-C-E) is called for, a D triad works... as does Am or F#. Each of those has three tones out of the original chord's five: #3 - Chord suspensions . Suspended chords replace the third with a fourth, and that creates tension that wants to resolve - the fourth wants to move down a half step to the third. Use these for the first half of a chord - use Fsus-F-C or F-Csus-C in place of F-C. #4 - Secondary Dominants . You can always use the dominant chord of your target for just part of the original chord's duration. We did this with C7 and F just a little while ago, using a measure of each instead of playing two measures of F. This is called a secondary dominant, which I covered in an earlier article. Secondary dominants actually work for any chord in a progression, not just a dominant chord. misalnya : G Em Bm jadinya G B7 Em F#7 Bm #5 - Relative majors and minors . If the original chord is minor, the major chord built on the third (C for an Am chord) will work as a chord substitution; if the original is major, the minor based on the sixth will work. In both cases, the substituted chord will have two of the original chord's three tones: #6 - Minor chords a third above a major . Like the relative minor (the sixth above a major), this chord will share two tones with the original: misalnya : C disubstitusi dg Em #7 - Back and fourths you can use a chord of the same type, a fourth higher, for any chord - as long as you make a chord 'sandwich' (original-substitution-original). If the progression goes C-F-G7, you can play C-F-Bb-F-G7. #8 - Diminished 7 th chords a third above a dominant chord . Since the simplification of a seventh chord into a diminished triad (substituting B-D-F for G-B-D-F) works, you can combine the simplification and extension to create a new substitution - using B7 (1-3-5-bb7, or B-D-F-Ab). The new chord will share three tones with the original. misalnnya: G7 disubstitusi Bdim7

#9 - Dominant 7 th chords a minor third above a dominant chord . This one will share two tones instead of G7 (G-B-D-F), you'd play Bb7 (Bb-D-F-Ab). You still have two tones in common. I'm showing this chord inverted, so you can more easily see how close they are: misalnya : G7 dg Bb7 #10 - The tritone substitution . A tritone is three whole steps from the original chord. If the original is dominant - a 7 th , 9 th , 11 th , or 13 th chord - you can use any dominant chord that's three whole steps up from the root of the original. For example, if the original is G7 (G-B-D-F), a tritone up from G is C# - so you could use C#7, or the enharmonic Db7 instead (Db-F-Ab-C). This works for a couple of reasons... first, the new chord shares two tones with the old one; second (and really cool - one reason this substitution is used so often in jazz!), the new chord will almost always blend into the chords on either side by half steps. Let's say the original change is Dm-G7-C. We plug in Db7 instead of G7... and now the roots move chromatically, D-Db-C. You've got one tone in Db that's 'connected' to the chord on each side - F is in the Dm chord, and C is in the C chord - and even the Ab makes for chromatic steps A-Ab-G moving from the Dm chord to the C! #11 - m7b5 chords a fifth above in place of a dominant chord . Instead of using G7 (G-B-D-F), you can use Dm7b5 (D-F-Ab-C). Again, you have two common tones from the original chord #12 - m7 a fifth higher than a dominant (for part of a change) . This actually turns a V-I progression into ii-V-I, a very common jazz progression. Instead of using G7-C, you can use Dm7-G7-C. #13 - Dominant alterations . These start getting tricky... when you have a dominant chord in the chart, you can place b5, #5, b9, or #9 in the chord. It's best to establish the original chord first , then do your substitution. C7-F can become C7-C7b5-F, or C7-C7+-F, or C7-C7b9-F, etc. These work best when the dominant chord is going to resolve down a fifth. #14 - Stepping . Most chords can be 'stepped into' chromatically - you can substitute C-Ab7-G7 or AF#7-G7 for a C-G7 change. You can actually over/under shoot your chord by quite a ways and still step into it, if you treat the change carefully... C-B7-Bb7-A7-Ab7-G7 can be made to work under the right circumstances. Although stepping chromatically is the most common of this fairly rare type of substitution, it's not the only choice - altered dominants work well when stepped into by whole steps, as in C-A7#9-G7#9G7 for a C-G7 change. Unaltered dominants will even work when stepped into by minor thirds - you can use C-Bb7-G7 instead of C-G7.