I'm Adam Anus, and you're listening to the You'll Hear at podcast. Daily Jazz Advice,

day three of my solo week here at the piano, I'm having a good time rolling through these.

We're doing these series this week on very basic jazz theory, just kind of the nuts and

bolts of some things that we get asked a lot about. And we're calling it, how does that work?

Because I thought it was mildly funny. So today is chord subs. How does that work?

Which is something we get asked a lot about here.

And by chord subs, I'm talking about chord substitutions. So let's define what a chord substitution is.

So anytime we have any chord progression, as jazz musicians, we have options to substitute whatever the agreed-upon chord is,

or the typical chord you might play,

for a number of options.

And sort of the more you level up in jazz

and understand the inner workings behind it,

the more options you can use as you're playing through something.

So if we take a tune, like have you met Miss Jones?

Right, so in those first four bars,

we can apply a number of substitutions to almost any of those chords. But we'll

start. So here we have a three six going to the two, right? We have A minor, D7 to G minor seven. So our very level one chord substitution is what's called a tritone substitution.

This can be used on any dominant seventh chord really, especially ones that are going somewhere.

But if we have a three six here, we can use the same, we can use the dominant 7 chord, a tritone away from the dominant

chord we're using here. In this case, it's D7, so we can use an A-flat 7 as the tritone sub

going to G minor, right? So we have F-major 7, A-minor 7, and instead of D-7 d7 flat 9 we'll use a flat 7 sharp 11 right so when we're

soloing over this it gives us this chromatic movement um you might not do this substitution during the melody because it

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