125302090 13 substitutions and turnarounds pdf fundamentals of jazz improvisation
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7/28/2019 125302090 13 Substitutions and Turnarounds PDF Fundamentals of Jazz Improvisation
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Substitutionsand
Turnarounds
FromFundamentalsofJazzImprovisation:
WhatEverybodyThinksYouAlreadyKnow
Dr.MarkWatkins
DirectorofJazzStudies
BrighamYoungUniversity–Idaho
©2010byMarkWatkins
Materialshereinareprovidedforpersonaluse.Nopartmaybereproduced
withoutwrittenpermissionfromtheauthor.
7/28/2019 125302090 13 Substitutions and Turnarounds PDF Fundamentals of Jazz Improvisation
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Substitutions
TheTritoneSubstitution
Atritoneisanintervalofthreetonesorwholesteps.Atoneistwosemi-tones,twoadjacentkeysonthepianoupformthestartingpitch.Awholestepistwohalf-steps.Threewholestepsequals
sixhalf-steps.(Seethesectiononintervalsabove.)FromFuptoBisatritone;fromBuptoFisa
tritone.Atritoneisexactlyhalfanoctave.Itisasharp‐4oraflat‐5.
TritoneWheel
Thecrossshowsnotesa
tritoneaway.
Compass
Turntheouterwheellikethe
degreesonacompass.
Clock
Turnthecrosslikethearmsof
aclock.
Wheneveradominantchordisusedinaprogressionasanactivechordleadingsomewhere,a
chordatritoneawayfromthatdominantchordcanbesubstituted.Forexample,aiiV7IinB‐
flatisCminor,F7,B‐flatmajor.AtritoneawayfromFisB.TheprogressionbecomesCminor,
B7,B‐flat.Thisworkswellbecausetheprimaryfunctionalnotesofthedominantchordarestillpresent:major3rdofthedominantchord(leadingtonetoI),andminor7(whichcanbe
consideredasecondarydownwardleadingtoneduetoitsstrongtendencytoresolvetothe3rd
ofI).
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Perhapsaneasierwaytoincorporatetritonesubstitutionsistothinkofthemasa½‐stepabove
thechordofresolution.InaV7IsequencesuchasFtoB‐flat,insteadofthinkingthetritone
awayfromFtofindB,think½‐stepaboveB‐flattofindB.
Seethe“TritoneConcepts”headingintheChordProgressionssectionforexamples.
CotraneChanges
JohnColtranedevelopedthisprogressionasanadaptationtotheMilesDavistuneTuneUp.
ColtraneexploredtheformulaincompositionssuchasGiantStepsandCountdown.Theycanbe
appliedinmostcircumstanceswheretherearefourbarsofamajorchordoronafourbariiV7I,
especiallyduringimprovisedsolos.Theprogressionalsoworkswellasaturnaround .
Simplecomplexityisagooddescriptor.Startingontonic,oneproceedsupaminor3rdthen
downaperfect5th,upam3,downP5untilreturningtoI.Onecanstartonthesupertonic
insteadoftonic,asinaiiV7I,firstmovingupaminorsecond(forexample,DminortoE‐flat7).
Thechordsgenerallychangeonbeatsoneandthreewiththreebeingdominantinqualityand
onebeingmajor.
Intheaboveexample,noticethatthepairsofV7Imovebymajor3rds,therootsformingand
augmentedtriad.InCmajorthefirstchordisCfollowedbythepairE‐flat7toA‐flat,aV7IinA‐
flat.ThenextpairisB7toEmajor,V7IinE.ThelastpairbringsthesequencebacktoIwithG7
toCmajor,V7IinC.ThepairsequenceisCA‐flatEC,anaugmentedtriad.
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Blues
FundamentalHarmonicStructure
QuickChange:Measure2ofthebluesoftenincludesthesubdominant.
Subdominant,mm.5‐6:ivVII7IleadingbacktoI.
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Subdominant,mm.5‐6:Bassup½‐stepchangingharmonytodiminished.
Dominant,mm.9‐10:Fouroptionsincludedincomposition(notsubstitutions).
Option1:Dominantfortwobars.
Option2:iiV7(perhapsmostcommon)
Option3:“Takeitfromthefive.”VdowntoIVtoI
Option4:V/VtoV(iimadedominant)
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Otherpossibilitiesforlastfourbars:
IVflat‐VII7I(ivflat‐VII7I)
II7(orV/V)|TritoneSubstitution|I(I7orminor)
Minorbluesmayhaveminorchordsinthedominantmeasures.
Lead‐inConcept
InmanysituationsaniiV7canbeinsertedtoleadintoastructuralpointofatune.Itmaybean
importantchord,delineatingasectionofmelody,definingfouroreightmeasuregroup,or
fulfillotherharmonicneeds.
Intheblues,aiiV7canbeplacedinm.4leadingtothesubdominant.
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AiiV7inm.8ofthebluescanleadtothedominant(orotherchordinm.9).
ExtendedLead‐in
Whereharmonicspaceallows,theLead-incanbeextendedbymeansofacycleofV7s,acycleof
iiV7s,descendingorascendingiiV7s,tritonesubstitutions,orotherprogressions.
Blues,mm.1‐5:cyclelead‐intoIV.ThissequenceisdemonstratedinbluesforAlice(Charlie
Parker).Thetonicchordhasamajor7thinsteadofthetraditionalminor5thfoundinablues
tonic.This,plusthehalf‐diminishedqualityofthefirstchordinm.2helptostartthecyclemore
smoothly.Themajor7thofIisthesameastherootofthefirstchordinm.2.Thehalf‐
diminishedchord’sflat‐5isinthekeysignatureandisrootofthequickchangechordoften
playedinm.2.
iiiforI
Themediantisasubstitutefortonic.InCthechordtonesareCEGB.Themediantinthekeyof
CisE.UsingtheCmajorkeysignaturethechordtonesforEareEGBD.Pitchesarethesimilar
andcanbemademoresodependingontheextensionsused.
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InRhythmChangesIviiiV7canbecomeiiiviiiV7.ThisisoftenconvertedtoacycleofiiV7sby
changingthequalityofvitoVI7.
IntheBluesiiiissometimessubstitutedforIinmm.7‐8.ThiscanleadtoacycleofiiV7s.The
cyclecanbeextendedwhenivflat‐VII7issubstitutedinmeasure6andthetritonesubstitutionis
usedforthelead-intothedominantinm.9.
Blues,mm.5‐8:iiisubstitutedforIinm.7
Blues,mm.5‐9:TritoneSubstitutioninm.8forLead-intom.9
Blues,mm.5‐8:ivflat‐VII7I,mm.6‐7
Blues,mm.5‐9:CombinedelementstocreateDescendingChromaticiiV7Progression
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ThemediantisoftensubstitutedforIinmeasure11whenaiiiviiiV7oriiiVI7iiV7turnaround
ininserted.Amajormediantisusedwhentheturnaroundisacycleofdominants:III7VI7II7
v7.
iiV7forV7andV7foriiV7
Inmostsituations,whenthereisadominantchordaiiV7canbesubstituted.Likewise,whena
iiV7ispresentaV7canbeused.
iiV7forV7
V7foriiV7
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TheTurnaround
TurnaroundtoTopofForm
Theprimarydefinitionofaturnaround isachordsequencethatfacilitatestherepetitionoftheform.Ithelpstobringthemusicfromtheendofachorus(onetimethroughthechord
progressionofthetune)backtothebeginningofthenextchorus.Aturnaround takesonefrom
thebottomtothetopofthetune.
Example:Turnaroundappliedtoblueschanges.
SectionDelineation
Turnaroundprogressionscandelineateasectionoftheformofatuneasinthelead-inconcept
above(Bluessection).ThisisfrequentattheendofthefirstA“turningaround”tothesecondA
section.Itisfrequentasameanstobringthelistenerintothebridge(contrastingsection)ofthe
tune.
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VampsandCircularProgressions
Anotherdefinitionanduseofaturnaround isanyprogressionthatcirclesbackuponitsstarting
point;aprogressionthatturnsuponitself.Thiscanhappenatthebeginning,middle,orendofa
phrase.Turnaround progressionscanvamp(toplaythesamematerialrepeatedly).
IviiiV7oriiiviiiV7vamp
ColtraneChanges
iv bVII7I
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CatalogofTurnarounds
BasedonCircleof5thsCycle:
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BasedonTritoneSubstitutions:
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Basedoniv bVII7I
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ColtraneChanges
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