I found a example among my arrangements with some nice chord substitutions which were discussing in other threads. Some were covered by Noteboat in his excellent lesson, others were not but it is maybe good to see some of them in action on guitar in a song. It is an arrangement from a CD I recorded last year as an arranger/conductor/pianist, the guitar part is played by gifted young Dutch jazz guitarist: Eelco v/d Meeberg and the vocals are by jazz diva Denise Jannah (the first Dutch jazz singer to get a contract with Blue Note!!). The orchestra consists of strings, some woodwind, some horns and a jazz rhythm section. The song is the well known standard "Fly Me to the Moon". You can listen to it here:
http://www.soundclick.com/util/getplaye ... 14337&q=hi
First the guitar part:
I was raised in the classical way with notes and never learned to read or write tabs, so I only have the notes. I will try to upload the part in this message, but I am not sure it will work, if it doesn't I won't know until I see the message. If it fails I will try it another way later.
I want to discuss the verse which is played only by guitar and voice (after the short orchestral introduction). The verse is in the key of Bbmajor (note that the chord symbols do not always convey the full sound of the chord: sometimes I leave out the extensions since all the voicings are notated).
First two bars:
Bbmaj.7 G-7 C-7(9) F7(13) | G-7(9) C-7b5/Gb Adim/F# |
first bar is easy: I VI II V
but in the second we see two substitutions one for I and one for V,
- I (Bb) is substituted by VI (G-7)
V -> VI instead of V - I is what is called a "Trugschluss" or in English I believe "Deceptive Cadence", a nice way to trick the listener who is expecting a I
- V (F7) is subst. by II4/3md (C-7b5/Gb) AND by VII2md(Adim/F#) one after an other
the V is replaced by two chords: first an inversion (4/3 means second inversion, so the fifth in the bass) of the II from the Moll Dur Scale followed by an inversion (2 means third inversion, so the seventh in the bass) of the VII from the Moll Der Scale (hence twice the md [moll dur] behind the numerals).
The moll dur scale in Bb goes: Bb C D Eb F Gb A Bb (sixth note is lowered), if you build four note chords on the second and the seventh notes you get these chords. You can freely use chords from this scale to substitute corresponding chords from the major scale as long as it doesn't clash with the melody of course. Also you see another nice trick used: placing a different note other than the root of a chord in the bass, this is not a really a substitution, but it will give you a completely fresh sound with little effort!
Damn, I have to go!
I'll finish this tomorrow!