13 Substitutions and Turnarounds
Transcript of 13 Substitutions and Turnarounds
SubstitutionsandTurnarounds
FromFundamentalsofJazzImprovisation:WhatEverybodyThinksYouAlreadyKnow
Dr.MarkWatkins
DirectorofJazzStudiesBrighamYoungUniversity–Idaho
©2010byMarkWatkinsMaterialshereinareprovidedforpersonaluse.Nopartmaybereproduced
withoutwrittenpermissionfromtheauthor.
Substitutions
TheTritoneSubstitutionAtritoneisanintervalofthreetonesorwholesteps.Atoneistwosemitones,twoadjacentkeysonthepianoupformthestartingpitch.Awholestepistwohalfsteps.Threewholestepsequalssixhalfsteps.(Seethesectiononintervalsabove.)FromFuptoBisatritone;fromBuptoFisatritone.Atritoneisexactlyhalfanoctave.Itisasharp‐4oraflat‐5.
TritoneWheelThecrossshowsnotesa
tritoneaway.
CompassTurntheouterwheellikethe
degreesonacompass.
ClockTurnthecrosslikethearmsof
aclock.
Wheneveradominantchordisusedinaprogressionasanactivechordleadingsomewhere,achordatritoneawayfromthatdominantchordcanbesubstituted.Forexample,aiiV7IinB‐flatisCminor,F7,B‐flatmajor.AtritoneawayfromFisB.TheprogressionbecomesCminor,B7,B‐flat.Thisworkswellbecausetheprimaryfunctionalnotesofthedominantchordarestillpresent:major3rdofthedominantchord(leadingtonetoI),andminor7(whichcanbeconsideredasecondarydownwardleadingtoneduetoitsstrongtendencytoresolvetothe3rdofI).
Perhapsaneasierwaytoincorporatetritonesubstitutionsistothinkofthemasa½‐stepabovethechordofresolution.InaV7IsequencesuchasFtoB‐flat,insteadofthinkingthetritoneawayfromFtofindB,think½‐stepaboveB‐flattofindB.Seethe“TritoneConcepts”headingintheChordProgressionssectionforexamples.
CotraneChangesJohnColtranedevelopedthisprogressionasanadaptationtotheMilesDavistuneTuneUp.ColtraneexploredtheformulaincompositionssuchasGiantStepsandCountdown.TheycanbeappliedinmostcircumstanceswheretherearefourbarsofamajorchordoronafourbariiV7I,especiallyduringimprovisedsolos.Theprogressionalsoworkswellasaturnaround.Simplecomplexityisagooddescriptor.Startingontonic,oneproceedsupaminor3rdthendownaperfect5th,upam3,downP5untilreturningtoI.Onecanstartonthesupertonicinsteadoftonic,asinaiiV7I,firstmovingupaminorsecond(forexample,DminortoE‐flat7).Thechordsgenerallychangeonbeatsoneandthreewiththreebeingdominantinqualityandonebeingmajor.
Intheaboveexample,noticethatthepairsofV7Imovebymajor3rds,therootsformingandaugmentedtriad.InCmajorthefirstchordisCfollowedbythepairE‐flat7toA‐flat,aV7IinA‐flat.ThenextpairisB7toEmajor,V7IinE.ThelastpairbringsthesequencebacktoIwithG7toCmajor,V7IinC.ThepairsequenceisCA‐flatEC,anaugmentedtriad.
BluesFundamentalHarmonicStructure
QuickChange:Measure2ofthebluesoftenincludesthesubdominant.
Subdominant,mm.5‐6:ivVII7IleadingbacktoI.
Subdominant,mm.5‐6:Bassup½‐stepchangingharmonytodiminished.
Dominant,mm.9‐10:Fouroptionsincludedincomposition(notsubstitutions).Option1:Dominantfortwobars.
Option2:iiV7(perhapsmostcommon)
Option3:“Takeitfromthefive.”VdowntoIVtoI
Option4:V/VtoV(iimadedominant)
Otherpossibilitiesforlastfourbars:IVflat‐VII7I(ivflat‐VII7I)
II7(orV/V)|TritoneSubstitution|I(I7orminor)
Minorbluesmayhaveminorchordsinthedominantmeasures.
Lead‐inConceptInmanysituationsaniiV7canbeinsertedtoleadintoastructuralpointofatune.Itmaybean
importantchord,delineatingasectionofmelody,definingfouroreightmeasuregroup,orfulfillotherharmonicneeds.
Intheblues,aiiV7canbeplacedinm.4leadingtothesubdominant.
AiiV7inm.8ofthebluescanleadtothedominant(orotherchordinm.9).
ExtendedLead‐inWhereharmonicspaceallows,theLeadincanbeextendedbymeansofacycleofV7s,acycleofiiV7s,descendingorascendingiiV7s,tritonesubstitutions,orotherprogressions.Blues,mm.1‐5:cyclelead‐intoIV.ThissequenceisdemonstratedinbluesforAlice(CharlieParker).Thetonicchordhasamajor7thinsteadofthetraditionalminor5thfoundinabluestonic.This,plusthehalf‐diminishedqualityofthefirstchordinm.2helptostartthecyclemoresmoothly.Themajor7thofIisthesameastherootofthefirstchordinm.2.Thehalf‐diminishedchord’sflat‐5isinthekeysignatureandisrootofthequickchangechordoftenplayedinm.2.
iiiforIThemediantisasubstitutefortonic.InCthechordtonesareCEGB.ThemediantinthekeyofCisE.UsingtheCmajorkeysignaturethechordtonesforEareEGBD.Pitchesarethesimilarandcanbemademoresodependingontheextensionsused.
InRhythmChangesIviiiV7canbecomeiiiviiiV7.ThisisoftenconvertedtoacycleofiiV7sbychangingthequalityofvitoVI7.
IntheBluesiiiissometimessubstitutedforIinmm.7‐8.ThiscanleadtoacycleofiiV7s.Thecyclecanbeextendedwhenivflat‐VII7issubstitutedinmeasure6andthetritonesubstitutionisusedfortheleadintothedominantinm.9.Blues,mm.5‐8:iiisubstitutedforIinm.7
Blues,mm.5‐9:TritoneSubstitutioninm.8forLeadintom.9
Blues,mm.5‐8:ivflat‐VII7I,mm.6‐7
Blues,mm.5‐9:CombinedelementstocreateDescendingChromaticiiV7Progression
ThemediantisoftensubstitutedforIinmeasure11whenaiiiviiiV7oriiiVI7iiV7turnaroundininserted.Amajormediantisusedwhentheturnaroundisacycleofdominants:III7VI7II7v7.
iiV7forV7andV7foriiV7Inmostsituations,whenthereisadominantchordaiiV7canbesubstituted.Likewise,whenaiiV7ispresentaV7canbeused.iiV7forV7
V7foriiV7
TheTurnaround
TurnaroundtoTopofFormTheprimarydefinitionofaturnaroundisachordsequencethatfacilitatestherepetitionoftheform.Ithelpstobringthemusicfromtheendofachorus(onetimethroughthechordprogressionofthetune)backtothebeginningofthenextchorus.Aturnaroundtakesonefromthebottomtothetopofthetune.Example:Turnaroundappliedtoblueschanges.
SectionDelineationTurnaroundprogressionscandelineateasectionoftheformofatuneasintheleadinconceptabove(Bluessection).ThisisfrequentattheendofthefirstA“turningaround”tothesecondAsection.Itisfrequentasameanstobringthelistenerintothebridge(contrastingsection)ofthetune.
VampsandCircularProgressionsAnotherdefinitionanduseofaturnaroundisanyprogressionthatcirclesbackuponitsstartingpoint;aprogressionthatturnsuponitself.Thiscanhappenatthebeginning,middle,orendofaphrase.Turnaroundprogressionscanvamp(toplaythesamematerialrepeatedly).IviiiV7oriiiviiiV7vamp
ColtraneChanges
ivbVII7I
CatalogofTurnaroundsBasedonCircleof5thsCycle:
BasedonTritoneSubstitutions:
BasedonivbVII7I
ColtraneChanges