This is a public version of the members-only Gypsy Jazz & More with Andreas Oberg, at ArtistWorks. Functionality is limited, but CLICK HERE for full access if you’re ready to take your playing to the next level.

These lessons are available only to members of Gypsy Jazz & More with Andreas Oberg.
Join Now

Guitar Basics
Introductory Guitar Concepts for All Players
Tricks & Techniques
An Assortment of Techniques for Specific Playing Situations
Jazz Basics
Introductory Jazz Guitar Concepts
Jazz Advanced
Advanced Jazz Guitar Concepts
Gypsy Guitar
Concepts and Techniques for Playing the Gypsy Style
Lick Breakdowns
Detailed Analysis of Specific Licks and Melodic Ideas
AGU Tunes
30 Day Challenge
«Prev of Next»

Jazz & More Guitar Lessons: Tritone Substitutions

Lesson Video Exchanges () submit video Submit a Video Lesson Study Materials () This lesson calls for a video submission
Study Materials
information below
Lesson Specific Downloads
Play Along Tracks
Backing Tracks +
Additional Materials +
resource information below Close
Collaborations for
resource information below Close
Submit a video for   
Jazz & More Guitar

This video lesson is available only to members of
Gypsy Jazz & More with Andreas Oberg.

Join Now

information below Close
Course Description

This page contains a transcription of a video lesson from Gypsy Jazz & More with Andreas Oberg. This is only a preview of what you get when you take Jazz & More Guitar Lessons at ArtistWorks. The transcription is only one of the valuable tools we provide our online members. Sign up today for unlimited access to all lessons, plus submit videos to your teacher for personal feedback on your playing.

CLICK HERE for full access.
Jazz Basics, Tritone Substitutions.
I'm going to speak a little bit
about Tritone Substitutions.
Tritone Substitutions means that you
replace for instance, a dominant chord.
In this case if you have a G7.
We can replace the G7 with the D flat 7.
With the sharp 4.
Or the flat 5.
You can choose.
I'd like to call it.
So if for instance, you have 2,
5, 1 progression in the key of C.
Means, so first the second step,
D minor 7.
D minor 7 chord.
Going to the fifth of the key G7.
Then going to.
The key of C.
So 2, 5, 1.
Like this.
C major 7.
Then you can replace the G
7 with the D flat 7.
You create dominant chord on
the sharp 4 or the flat 5.
So a D flat 7.
And then.
You end up on C major.
You move it chromatically
one half step down.
So instead of.
You do.
And this can be done.
Either you change the chord progression or
you just change when you improvise.
So instead of thinking D minor 7,
G7, C, you think D minor 7, D flat 7, C.
So it would be like if
we just played arpeggio.
D minor 7, D, F, A.
G, B, D, and F.
And C, E, G, and B.
These are the basic arpeggios.
Then instead of using G7
you can use D flat 7.
So then it will be.
D flat, F, A flat, and B.
And if you're gonna play
a scale on this D flat chord,
the scale is called D flat 7,
Lydian flat 7.
Lydian flat 7 in D flat.
Like, Lydian flat 7,
like we were going through while we were.
Talking about modes of melodic minor.
So, D flat E flat F, G,
A flat, B flat, B and E flat.
So, if we would this is this same
note starting from G instead,
the scale would look like this.
And this would be G.
A flat, B flat, B,
D flat, E flat, F, and G.
And then you have a G altered scale.
And, G altered is the seventh step of,
A flat melodic minor.
So, and D flat will be the fourth
step of A flat melodic minor.
So what we have here, we have
borrowed this chord, or this scale,
from A flat melodic minor.
While we're still in the key of C.
This would sound something like this,
if I will improvise on this 2, 5, 1.
So, what I'm doing there is
using D flat lydian flat 7,
or a G altered, over the G chord.
So even though the rhythm
will just be playing a G7,
you can still superimpose this this chord,
D flat 7, to make it more.
And you.
As you can hear it's leading well
very well into C.
Like this.
Note A.
From the D [INAUDIBLE].
And you have the flat 9 over the G7.
Ending on the G.
So here you have a really
strong melody line.
Over these chords.
The D flat in the bass.
Or, maybe go from E.
E, E flat, D.
Another very strong melody line.
And many of these.
That's another one or
maybe we can go ascending instead.
That's nice.
So, as you can see it's a really
good thing to shake out
all these in the notes in the scales and
you can see where they are going.
And if you can just move them half
a step over to the next chord to create
an interesting melody line.
So let's work and practice a little
bit on this tritone substitution,
and you can send me some videos
while you practice on it.
And I'll be happy to
give you some feedback.
All right, thank you.