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• Raymond Onn

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SUBSTITUTION TEACHER Superimposing substitute chord changes over a pedal tone I introduced you to the concept of using chord substitutions when soloing over a pedal tone, detailing specifically the incorporation of the implied V (five) chord into one's improvised phrases. As you recal], a pedal tone.is defined as "a sustained or continuously repeated tone" and is also the term used to describe the one-chord vamps heard commonly in a great variety of funk, rock, blues and jazz. The style known as modal jazz, spearheaded by Miles Davis and John Coltrane in the late Fifties and early Sixties, is characterized by simple one- or twochord vamps that offer the soloist a wide harmonic environment within which to improvise and "color" the basic underlying tonality. With the arrival of jazz fusion in the late Sixties, one-chord grooves became the standard for the improvising musician, and harmonic/melodic adventurousness was the order of the day. This approach is widely employed by many of the groups on today's ja'm-band circuit. Using an F dominant tonality (F7) as a pedal point, 1provided examples in my last column of lines thatimply anF7 C7 F7 (I7V7 17 [one dominant seven, five dominant seven, one dominant seven]) chord progression. Within the lexicon of standard jazz/blues harmony, the V (five) chord, C7, can be expanded to C7 "altered" (C7alt), altered meaning b5, #5, b9 and/or #9. For lines based on F7, we used the F Mixolydian mode (F G A Bb C DEb), and for lines based on C7alt, we used the C diminished whole-tone scale (C Db Eb E Gb Ab Bb), which contains the b5, #5, b9 and #9 altered tones, relative to C (Gb, Ab, Db and Eb, respectively). I'd now like to show you how to use this implied V (five) chord concept as ajumpingoff point for the incorporation of chordal substitutions. A typical substitution for an altered dominant chord is the dominant chord a tritone away, which is a chord whose root note is three whole tones above (or below) the original chord. In the key of F we can replace the implied V (five) chord, C7alt, withF#7; FIGURE la shows the C diminished wholetone scale in two octaves and how the F# dominant pentatonic scale (F# G# A# C# E) we learned last month can be extracted from it. (Play only the standard-size tab numbers not enclosed in parenthesis.) FIGURE 1b shows one way to use a tritone substitution to add a feeling of harmonic tension and release to a line played over a C root. What I'm doing here is taking a four-note idea

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FIGURE 2 Funk Groove F7#9

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