EXCERPT 1
In the next section of this book we will apply the chord voicings to a 12 bar blues and the 12 bar minor blues in all keys. For each key there will be two progressions presented. The first will be a more typical application of the chords learned so far, and then a reharmonized version which will show how these chord voicings can be used as effective chord substitution tools.
The principle used in reharmonized progressions is based on the following: For every chord type there is a list of chord tones and available tensions that can be used. If we take all these notes and recombine them in different orders we will find many other chords. For example, CMajor7 contains the chord tones 1,3,5,7 (C,E,G,B) and has the available tension of 9,#11,13 (D,F#,A). If we recombine these notes we find that C,E,G,A, forms a C6; D,F#,A,C forms a D7 chord; E,G,B,D, forms a E-7 chord, F#,A,C,E forms a F#-7b5 chord. Therefore you can use these chords as replacements for the CMajor7. Furthermore many of the voicings you have learned in this book do not contain the complete chord structure but will also work as a substitution because the notes contained in their specific voicing all have notes that are available. For example a four note voicing of an AbMajor7#5add#11 would have to contain C,E,G, and D with the root left out. This AbMajor7#5add#11 specific voicing would work as a substitute for CMajor7 because all of the notes present in the chord are available notes on a CMajor7 chord. You can see that this opens up a whole new world of sound possibilities. With this new world comes the task of creatively and musically applying these chords to a given situation. Extreme care must be taken when using these reharmonized chords. Each musical situation is unique so you must use your ear and common sense when attempting to use these reharmonizations.
