Chord substitution
Much of the European classical repertoire and the vast majority of blues, jazz and rock music songs are based on chord progressions.Composers, songwriters and arrangers have developed a number of ways to add variety to a repeated chord progression.There are many ways to add variety to music, including changing the dynamics (loudness and softness).In J. S. Bach's St Matthew Passion, the chorale "Herzliebster Jesu" makes its first appearance in a straightforward harmonisation: Later, as the Passion Story draws towards its sombre conclusion, we find "a more chromatic and emotional setting of the melody" that passes through "no less than ten chords with grinding chromatic steps in the bass":[2] The well-known theme of the second movement of Joseph Haydn's String Quartet, Op.[3] Hans Keller calls this "the fullest and richest statement"[4] of the famous melody: "In the second bar, for instance, there even is a turn to the relative minor":[5] The diminished triad can be used to substitute for the dominant seventh chord.[7] Jazz musicians often substitute chords in the original progression to create variety and add interest to a piece.The musician typically applies a sense of the musical style and harmonic suitability to determine if the chord substitution works with the melody.As such, a performer or arranger who wished to add variety to the song could try using a chord substitution for a repetition of this progression.When performed by the bass player, this chromatic root movement creates a smooth-sounding progression."Tritone substitutions and altered dominants are nearly identical...Good improvisers will liberally sprinkle their solos with both devices.This technique is used in music such as bebop or fusion to provide more sophisticated harmony, or to create a new-sounding re-harmonization of an old jazz standard.
voice leadingmusic theorychord progressionrock musicJ. S. BachSt Matthew PassionchoraleHerzliebster JesuchromaticJoseph HaydnString Quartet, Op. 76 No. 3Hans KellerJ. S. Bach'sWell-Tempered Clavierdiminished triaddominant seventhmajor scalesscale degreedominant functiondominant triadprolongationalmusiciansharmonicfunctionsupertonicsecondary dominantdiminished seventh chordstepwiseinterval of the fourth or fifthsecondii–V–I progressionleading-tonetritone substitutionaugmented triaddominantbackdoor progressioncomposersarrangersjazz standardbig bandcompingrhythm changesfourthmajor seventhfusionchord soloColtrane changesPassing chordKeller, H.Jonas, OswaldHeinrich SchenkerCoker, JerryChordsAugmentedDiminishedSuspendedSeventhDominant seventh flat fiveHalf-diminishedDiminished majorMinor-majorAugmented majorAugmented minorAltered seventhNondominantHarmonic seventhExtendedEleventhThirteenthUpper structureDominant 7♯9PolychordTone clusterAugmented sixthLydianSeven sixBridgeComplexe sonoreElektraFarbenMysticNorthern lightsPetrushkaPsalmsSo WhatTristanViennese trichordMixed intervalSecundalTertianQuartalSynthetic chordTetradDiatonicMediantSubdominantSubmediantLeading toneSubtonicAlteredApproachBorrowedChromatic mediantNeapolitanPassingSecondarySecondary leading-toneSecondary supertonicCommonContrastPrimary triadSubsidiaryChordioidChord-scale systemGuitarArpeggioChord names and symbolsList of chordsFactorChord progressionsCadenceConstant structureDouble tonicNotation (Roman-numeral)Rewrite rulesTurnaround