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Enharmonic Chordal: Chapter Fourteen

This chapter discusses enharmonic chord substitutions for chords introduced in previous chapters on musical tensions. It presents chords in boxes alongside their enharmonic substitutions, including dominant 7th chords and their substitute V chords. For incomplete voicings, additional notation is provided to indicate the same root. Relative major and minor situations are also examined alongside the most common substitute V chords. A more thorough treatment of relative major and minor chords can be found in another chapter.

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185 views

Enharmonic Chordal: Chapter Fourteen

This chapter discusses enharmonic chord substitutions for chords introduced in previous chapters on musical tensions. It presents chords in boxes alongside their enharmonic substitutions, including dominant 7th chords and their substitute V chords. For incomplete voicings, additional notation is provided to indicate the same root. Relative major and minor situations are also examined alongside the most common substitute V chords. A more thorough treatment of relative major and minor chords can be found in another chapter.

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marcoantelo
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Chapter Fourteen.

Enharmonic Chordal Substitutions


The following chords (highlighted within boxes) appear in the order they were introduced in this text. Enharmonic
substitutions for each one of these chords appear in the order they were introduced as well. Chords include the basic
four-part chords and all the chords introduced in the tension chapters. To the left of each chord is the tension chapter
where that chord can be found. Additional enharmonic substitutions of the same voicings that have not been
introduced to this point will be examined in the Additional Enharmonic Chordal Substitutions chapter.
This chapter will include the Substitute Vth chord for eacr dom7 chord introduced as well as the most common
relative major and minor situations. Some of the more incomplete voicings will receive additional notation for the
same root to the right of that chord in parenthesis. A more in-depth and organized approach to relative major and
minor chords can be found in the Relative Major - Minor chapter.

Tension I major7 I
Chapter c E G B
Cmaj7 1 3 5 7
(9) A-9 ~3 5 ~7 9
(9 & 13) D7sus4(13/9) ~7 9 4 13
(9 & 11) Fmaj7(# 11/9) 5 7 9 #11

Imajor7~s j c
,

E Gb B
Cmaj7b5 1 3 bs 7
(9) A-6(9) b3 5 6 9
(9) Sub V~Ab7#SC#9) 3 #5 b7 #9
(9 & 13) D7(13/9) b7 9 3 13
(11) F#-7b5(1 l) bs b7 1 11

j major7#5 I
c E G# B
Cmaj7( #5) 1 3 #S 7
(9) A-rnaj7(9) ~3 5 7 9
(9 & 11) F #-7b5(11/9) bs b7 9 11
(9 -11 -13) SubV ~ D7(131# ! 1/9) ~7
.., 9 #11 13
Ab7(#91#5) ;) #5 1 #9

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