chord subs, changing the root

[brianh]

Hi Todd,

I'm trying to expand my options for chord substitutions or changing the bass note in a groove (not necessarily walking). I'm looking to apply this to lots of genres, but especially gospel.

I thought you might be able to help me because like you, I come from a jazz background. I know jazz thoery pretty well but am more so looking for a bunch of practical ways to change up a groove harmonically. Basically, I'm trying to make a list of options and learn how to apply them.

Can you make some suggestions?

Thanks!
Brian

[Todd Johnson]

Originally Posted by brianh

Hi Todd,

I'm trying to expand my options for chord substitutions or changing the bass note in a groove (not necessarily walking). I'm looking to apply this to lots of genres, but especially gospel.

I thought you might be able to help me because like you, I come from a jazz background. I know jazz thoery pretty well but am more so looking for a bunch of practical ways to change up a groove harmonically. Basically, I'm trying to make a list of options and learn how to apply them.

Can you make some suggestions?

Thanks!
Brian

Brian,

Well, let me see..........

Tri-tone or "Flat 5" substitutions are a great place to start...Do you know about that???

Basically this works on DOMINANT chords....so a F#7 will substitute for a C7...or vice versa.....they share the same 3rd and 7th. Make sense??? If not, then we'll have more to talk about.

Also realize that iii and vi substitute for I in major keys....but the keyboard player has to be onboard with you on that stuff or you'll get some funny looks! Ha!!

There are a lot of "other" possibilities....but I'll need more specifics in order to give a better answer.

I hope this helps.

[Chad.mundt]

One of my favorite tricks is to play the b6 on a tonic min7 chord. It makes the chord of the moment a maj9. For example: If the chord of the moment is a Cmin7, play Ab as the bass note. This will turn the chord into an Abmaj7 chord (bVI) Be careful, though, as if the melody or the soloist contains a natural 13, there will be a clash. Also, in a ii-V-I, substituting the b6 will reduce the effectiveness of the cadence.

Another idea would be to take a sus triad (1, 4, 5), and put various bassnotes under it. For example, you can take a Csus and put a Db on the bottom, making the chord into a Dbmaj7#11. The notes of the sus triad will change their function from 1, 4, 5 to 7, 3, #11, respectively. Again, watch for the function of the progression, as a sus chord generally has dominant function.

Experiment! Sus chords (among others) have lots of interesting bass note substitution possibilities. In fact, this is the beginning of Brecker-style reharmonizations and cell playing. Crazy cool stuff.

[Todd Johnson]

Originally Posted by Chad.mundt

One of my favorite tricks is to play the b6 on a tonic min7 chord. It makes the chord of the moment a maj9. For example: If the chord of the moment is a Cmin7, play Ab as the bass note. This will turn the chord into an Abmaj7 chord (bVI) Be careful, though, as if the melody or the soloist contains a natural 13, there will be a clash. Also, in a ii-V-I, substituting the b6 will reduce the effectiveness of the cadence.

Another idea would be to take a sus triad (1, 4, 5), and put various bassnotes under it. For example, you can take a Csus and put a Db on the bottom, making the chord into a Dbmaj7#11. The notes of the sus triad will change their function from 1, 4, 5 to 7, 3, #11, respectively. Again, watch for the function of the progression, as a sus chord generally has dominant function.

Experiment! Sus chords (among others) have lots of interesting bass note substitution possibilities. In fact, this is the beginning of Brecker-style reharmonizations and cell playing. Crazy cool stuff.

Hi Chad,

Cool......more fun options!!!

[brianh]

Originally Posted by Chad.mundt

One of my favorite tricks is to play the b6 on a tonic min7 chord. It makes the chord of the moment a maj9. For example: If the chord of the moment is a Cmin7, play Ab as the bass note. This will turn the chord into an Abmaj7 chord (bVI) Be careful, though, as if the melody or the soloist contains a natural 13, there will be a clash. Also, in a ii-V-I, substituting the b6 will reduce the effectiveness of the cadence.

Another idea would be to take a sus triad (1, 4, 5), and put various bassnotes under it. For example, you can take a Csus and put a Db on the bottom, making the chord into a Dbmaj7#11. The notes of the sus triad will change their function from 1, 4, 5 to 7, 3, #11, respectively. Again, watch for the function of the progression, as a sus chord generally has dominant function.

Experiment! Sus chords (among others) have lots of interesting bass note substitution possibilities. In fact, this is the beginning of Brecker-style reharmonizations and cell playing. Crazy cool stuff.

thats good stuff, thanks. sorry for being checked out for a minute. any more ideas? thanks for the help.

bh

[HaVIC5]

It all depends on context, really, so most substitutions will only work in specific musical situations. The root is the stablest bass note, and as a bass player, your role is to provide a stable platform for the music to move forward. As you go through the chord tones/non-chord tones, though you can create some pretty spicy flavors, though. Pedaling these notes I feel is the best way to emphasize them rather than just simply landing them on "one". I especially like emphasizing the fifth of a I-7 chord.

[DocBop]

I'm with HaVIC5 on this if a bass line I would stick close to roots and 5th's on a Sus7 chord, especially since they tend to not to last too long. 11th chords of Mi7 Sus chords do get pedaled a lot more, then have would want to open up more. Also I don't look at a Sus chord as being diatonic so I don't see the normal chord substitutions working that well, but as long as you treat the 3rd as an Avoid note whatever.

If soloing then most scales with a 4th and b7th will work just need to know the colors you will be using. I would try a Mixolydian with 3rd Avoid note, Dorian b9 gives you altered 9's and a 4th, Phrygian altered 9's and a #5, a Maj7 arpeggio a whole-step down from root very inside sound.

[Todd Johnson]

Brian....(and everyone else!)

Here's a thought........Talk to the keyboard players you work with and ask them what "they" want you to play.....

As bass players it's easy for us to play things that "interest" US.....but might be driving your keyboard player nuts.

It's always a good idea to "please" the people that hire you....within reason...you know what I mean!

FWIW, I've learned some interesting things by doing this with the people I work with......

Cool???

Cool........