Re: [Harp-L] II V I

[michael rubin <michaelrubinharmonica@xxxxxxxxx>]

Richard,
Are you saying that during a C7, even if the rhythm player does not
sub the actual chord with an Eb7, F#7 or A7, the melody player can jam
using the Eb, F# and A mixolydian scale?
Michael Rubin
Michaelrubinharmonica.com

On 1/9/10, Richard Hunter <turtlehill@xxxxxxxxxxxxx> wrote:
> "John F. Potts" wrote:
> <I am very intrigued by the concept of "scale substitutions.''  Is
> <there a reference or a formula for determining which scales can be
> <"substituted" for use over which chords?  Or can you at least
> <elaborate upon how this determination is made?
>
> Most substitutions involve the V7 chord. The first question with regard to this chord is: what's the chord substitution?  The second question is: what scales go with the substituted chord?
>
> A very common substitution is the flat-5 substitution, where a dominant 7 chord distanced a diminished fifth from the original dominant 7 chord is used.  So, for example:
> --Db7 is substituted for G7, in which case a Db mixolydian scale can be used over the G7 chord
> --F#7 is substituted for C7, in which case an F# mixolydian scale can be used over the C7 chord
> --B7 is substituted for F7, in which case a B mixolydian scale can be used over the F7 chord
>
> Less common, but very cool, a dominant 7 chord that shares 2 tones with the original chord can be substituted. In this case:
> --Eb7, F#7, or A7 can be substituted for a C7 chord
> --Bb7, Db7, or E7 can be substituted for a G7 chord
>
> Obviously the scale tones that go with these substitutions can sound pretty unusual in the context of a straight country or Chicago blues, so it's a good idea to think about what emotional effect you're going for before you set one of these things in motion.
>
> Finally, a really, really simple short cut to coolness that works on almost any chord is to play a line based on the same chord type as the original chord, but 1/2 step higher.  So, for example, you play an F# minor scale over an F minor chord.  Like most short cuts, this works best in moderation--play an entire solo that way and you'll sound totally off-kilter, but drop it in for a bar or two and you sound super-cool.
>
> Regards, Richard Hunter
>
> author, "Jazz Harp"
> latest mp3s and harmonica blog at http://myspace.com/richardhunterharp
> more mp3s at http://taxi.com/rhunter
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