7/28/2019 125302090 13 Substitutions and Turnarounds PDF Fundamentals of Jazz Improvisation

http://slidepdf.com/reader/full/125302090-13-substitutions-and-turnarounds-pdf-fundamentals-of-jazz-improvisation 1/15

 

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

http://slidepdf.com/reader/full/125302090-13-substitutions-and-turnarounds-pdf-fundamentals-of-jazz-improvisation 2/15

 

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).

7/28/2019 125302090 13 Substitutions and Turnarounds PDF Fundamentals of Jazz Improvisation

http://slidepdf.com/reader/full/125302090-13-substitutions-and-turnarounds-pdf-fundamentals-of-jazz-improvisation 3/15

 

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.

7/28/2019 125302090 13 Substitutions and Turnarounds PDF Fundamentals of Jazz Improvisation

http://slidepdf.com/reader/full/125302090-13-substitutions-and-turnarounds-pdf-fundamentals-of-jazz-improvisation 4/15

 

Blues

FundamentalHarmonicStructure

QuickChange:Measure2ofthebluesoftenincludesthesubdominant.

Subdominant,mm.5‐6:ivVII7IleadingbacktoI.

7/28/2019 125302090 13 Substitutions and Turnarounds PDF Fundamentals of Jazz Improvisation

http://slidepdf.com/reader/full/125302090-13-substitutions-and-turnarounds-pdf-fundamentals-of-jazz-improvisation 5/15

 Subdominant,mm.5‐6:Bassup½‐stepchangingharmonytodiminished.

Dominant,mm.9‐10:Fouroptionsincludedincomposition(notsubstitutions).

Option1:Dominantfortwobars.

Option2:iiV7(perhapsmostcommon)

Option3:“Takeitfromthefive.”VdowntoIVtoI

Option4:V/VtoV(iimadedominant)

7/28/2019 125302090 13 Substitutions and Turnarounds PDF Fundamentals of Jazz Improvisation

http://slidepdf.com/reader/full/125302090-13-substitutions-and-turnarounds-pdf-fundamentals-of-jazz-improvisation 6/15

 Otherpossibilitiesforlastfourbars:

IVflat‐VII7I(ivflat‐VII7I)

II7(orV/V)|TritoneSubstitution|I(I7orminor)

Minorbluesmayhaveminorchordsinthedominantmeasures.

Lead‐inConcept

InmanysituationsaniiV7canbeinsertedtoleadintoastructuralpointofatune.Itmaybean

importantchord,delineatingasectionofmelody,definingfouroreightmeasuregroup,or

fulfillotherharmonicneeds.

Intheblues,aiiV7canbeplacedinm.4leadingtothesubdominant.

7/28/2019 125302090 13 Substitutions and Turnarounds PDF Fundamentals of Jazz Improvisation

http://slidepdf.com/reader/full/125302090-13-substitutions-and-turnarounds-pdf-fundamentals-of-jazz-improvisation 7/15

 

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.

7/28/2019 125302090 13 Substitutions and Turnarounds PDF Fundamentals of Jazz Improvisation

http://slidepdf.com/reader/full/125302090-13-substitutions-and-turnarounds-pdf-fundamentals-of-jazz-improvisation 8/15

 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

7/28/2019 125302090 13 Substitutions and Turnarounds PDF Fundamentals of Jazz Improvisation

http://slidepdf.com/reader/full/125302090-13-substitutions-and-turnarounds-pdf-fundamentals-of-jazz-improvisation 9/15

 

ThemediantisoftensubstitutedforIinmeasure11whenaiiiviiiV7oriiiVI7iiV7turnaround

ininserted.Amajormediantisusedwhentheturnaroundisacycleofdominants:III7VI7II7

v7.

iiV7forV7andV7foriiV7

Inmostsituations,whenthereisadominantchordaiiV7canbesubstituted.Likewise,whena

iiV7ispresentaV7canbeused.

iiV7forV7

V7foriiV7

7/28/2019 125302090 13 Substitutions and Turnarounds PDF Fundamentals of Jazz Improvisation

http://slidepdf.com/reader/full/125302090-13-substitutions-and-turnarounds-pdf-fundamentals-of-jazz-improvisation 10/15

 

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.

7/28/2019 125302090 13 Substitutions and Turnarounds PDF Fundamentals of Jazz Improvisation

http://slidepdf.com/reader/full/125302090-13-substitutions-and-turnarounds-pdf-fundamentals-of-jazz-improvisation 11/15

 

VampsandCircularProgressions

Anotherdefinitionanduseofaturnaround isanyprogressionthatcirclesbackuponitsstarting

point;aprogressionthatturnsuponitself.Thiscanhappenatthebeginning,middle,orendofa

phrase.Turnaround progressionscanvamp(toplaythesamematerialrepeatedly).

IviiiV7oriiiviiiV7vamp

ColtraneChanges

iv bVII7I

7/28/2019 125302090 13 Substitutions and Turnarounds PDF Fundamentals of Jazz Improvisation

http://slidepdf.com/reader/full/125302090-13-substitutions-and-turnarounds-pdf-fundamentals-of-jazz-improvisation 12/15

 

CatalogofTurnarounds

BasedonCircleof5thsCycle:

7/28/2019 125302090 13 Substitutions and Turnarounds PDF Fundamentals of Jazz Improvisation

http://slidepdf.com/reader/full/125302090-13-substitutions-and-turnarounds-pdf-fundamentals-of-jazz-improvisation 13/15

 BasedonTritoneSubstitutions:

7/28/2019 125302090 13 Substitutions and Turnarounds PDF Fundamentals of Jazz Improvisation

http://slidepdf.com/reader/full/125302090-13-substitutions-and-turnarounds-pdf-fundamentals-of-jazz-improvisation 14/15

 

Basedoniv bVII7I

7/28/2019 125302090 13 Substitutions and Turnarounds PDF Fundamentals of Jazz Improvisation

http://slidepdf.com/reader/full/125302090-13-substitutions-and-turnarounds-pdf-fundamentals-of-jazz-improvisation 15/15

 

ColtraneChanges