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In music theory, chord substitution is the technique of using a chord in the place of another - often related - chord, in a chord progression. Jazz musicians often substitute chords in the original progression to create variety and add interest to a piece. The substitute chord must have some harmonic quality and degree of function in common with the original chord, and often only differs by one or two notes. Scott DeVeaux describes a "penchant in modern jazz for harmonic substitution."〔Scott DeVeaux (Autumn, 1999). "'Nice Work if You Can Get It'- Thelonious Monk and Popular Song", p.178, ''Black Music Research Journal'', Vol. 19, No. 2, New Perspectives on Thelonious Monk.〕 ==Types== The ii-V substitution is when a chord or each chord in a progression is preceded by its supertonic (ii7) and dominant (V7), or simply its dominant.〔Dimin, Michael (2009). ''The Art of Solo Bass: The Chordal Approach'', p.17. ISBN 0-7866-0653-3.〕 For example, a C major chord would be preceded by Dm7 and G7. Since secondary dominant chords are often inserted between the chords of a progression rather than replacing one, this may be considered as 'addition' rather than 'substitution'. Chord quality alteration is when the quality of a chord is changed, and the new chord of similar root and construction, but with one pitch different, is substituted for the original chord, for example the minor sixth for the major seventh, or the major seventh for the minor.〔Bahha and Rollins (2005). ''Jazzology'', p.103. ISBN 0-634-08678-2.〕 The ''diminished seventh chord'' is often used in place of a dominant 7th chord. In the key of A Major the V chord, E dominant 7th (which is made up the notes E, G, B, and D) can be replaced with a G diminished seventh chord (G, B, D, F). If the diminished seventh chord (G) is followed by the I chord (A), this creates chromatic (stepwise semitonal) root movement, which can add musical interest in a song mainly constructed around the interval of the fourth or fifth. The diminished seventh chord on the sharpened second scale degree, II7, may be used as a substitute dominant,〔Coker, Jerry (1997). ''Elements of the Jazz Language for the Developing Improvisor'', p.82. ISBN 1-57623-875-X.〕 for example in C: II7 = D-F-A-C ↔ B-D-F-A = VII7. In a ''tritone substitution'', the substitute chord only differs slightly from the original chord. If the original chord in a song is G7 (G, B, D, F), the tritone substitution would be D7 (D, F, A, C). Note that the 3rd and 7th notes of the G7 chord are found in the D7 chord (albeit with a change of role). The tritone substitution is widely used for V7 chords in the popular jazz chord progression "ii-V-I". In the key of C, this progression is "d minor, G7, C Major". With tritone substitution, this progression would become "d minor, D7, C Major," which contains chromatic root movement. 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. A simple comparison of the notes generally used with the given chord () and the notes used in tri-tone substitution or altered dominants will reveal a rather stunning contrast, and could cause the unknowledgeable analyzer to suspect errors. ...(the distinction between the two (substitution and altered dominant ) is usually a moot point).".〔Coker (1997), p.81.〕 ''Tonic substitution'' is the use of chords that sound similar to the tonic chord (or I chord) in place of the tonic. In major keys, the chords iii and vi are often substituted for the I chord, to add interest. In the key of C Major, the I Major 7 chord is "C, E, G, B," the iii chord ("III-7"〔) is E minor 7 ("E, G, B, D") and the vi minor 7 chord is A minor 7 ("A, C, E, G"). Both of the tonic substitute chords use notes from the tonic chord, which means that they usually support a melody originally designed for the tonic (I) chord. The ''relative major/minor substitution'' shares two common tones and is so called because it involves the relation between major and minor keys with the same key signatures, such as C major and A minor.〔DuBrock, Andrew (April 2009). "Composing with Chord Substitutions", p.81, ''Acoustic Guitar'', p. 80-82.〕 The augmented triad on the fifth scale degree may be used as a substitute dominant, and may also be considered as III+,〔Cho, Gene (1992). ''Theories and Practice of Harmonic Analysis'', p.35. ISBN 0-7734-9917-2.〕 for example in C: V+ = G-B-D, III+ = E-G-B, and since in every key: D = E. The chord a minor third above, VII7, may be substituted for the dominant, and may be preceded by its ii: iv7.〔Richard Lawn, Jeffrey L. Hellmer (1996). ''Jazz: Theory and Practice'', p.124. ISBN 0-88284-722-8.〕 Due to common use the two chords of the backdoor progression (IV7-VII7) may be substituted for the dominant chord.〔 In C major the dominant would be G7: GB''DF'', sharing two common tones with B7: B''DF''A. A and F serve as upper leading-tones back to G and E, respectively, rather than B and F serving as the lower and upper leading-tones to C and E. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「chord substitution」の詳細全文を読む スポンサード リンク
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