I'm Peter Martin, and I'm Adam Manus. Welcome to the You'll Hear It podcast.

Hey everyone.

Today we're going to give you four easy chord substitutions on a 251.

Was it like calculus or something? Well, it's going to be simplified calculus.

We would call it jazz calculus, perhaps.

Jazz calculus. That doesn't sound very complicated.

That's right, right, right.

So this, we should be able to use these for any 251, not just A251, right?

Yeah, no, it should be any chord progression that is a 251, be it major or minor,

because what we're talking about really mostly is substituting the dominant chord, right? The

five. That's the most malleable chord in any progression. It's the one that creates tension,

and therefore you can add a lot of stuff there to create more attention as you go to the one.

The old tension and release trick.

The old tension and release trick.

Okay. Now with all these, I think, you know, substitutions, anything that has the possibility of kind of being nerded out on from a theoretical standpoint,

I think we want to keep in mind that the ultimate test on these is how they sound.

Okay. So we're going to give you some ideas, but try them out different situations or whatever. And if you like them, then you use them in your improv and your accompaniment, that kind of a thing. They're options to go to. Exactly. These are just some common ones, and maybe they're not part of your sound, but it's kind of good to know what everybody else is doing first,

and then you decide if you like it or not.

Cool. Why don't you kick it off with number one?

Yeah, so the first one is the classic tritone substitution.

This is usually the first substitution that anybody learns when they're learning jazz.

And in a 251, let's say we're in C, we have D minor, G7, and C major 7.

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