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The Flat Five Substitution - part 2

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As said in part 1, now we will use the flat five substitution to introduce some passing chords in the 12-bar blues. No new chord shapes are used, only new positions.


 
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If you know your music theory, and read standard notation, you should notice that the notation for the Eb7 chord is not correct in all bars where this chord occurs. In the first example below, it is written as Bb-G-C#, which is not correct. The correct spelling, as in the second example, is Bb-G-Db. But I want to make clear, also in the notation, that we have the same tritone – G - C#/Db – in both chords. I had to make a compromise. I prefer to illustrate, also in the notation, that it is the same notes, even if they might change their names. In the second example, we do not keep the tritone as the chord change, so then there was no reason not to write it correctly.


The Ab7 is not correctly written either. It is written as the first example to the right, with the notes Ab-F#-C. It should be no F# in a Ab7, it should be written as the enharmonic Gb, and the notes should be written as in the correct example to the far right: Ab-Gb-C. But again I prefer to illustrate that the note does not change from D7 to Ab7, even though it change name.

You do have to use the flat five substitution for passing chords only, as we will see in part three.

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