Many guitarists who are interested in working on chord voicings are also interested in learning about chord substitutions. Very frequently, chord substitutions are unnecessary—as they say, “if it isn’t broken, you don’t need to fix it.” But, when you’re composing, or working on an introduction or ending, it’s useful to have some other options.
There are two basic types of chord substitution:
- Embellishment of an existing chord
- Replacing one chord with another
Dominant chords are frequent targets for substitution. The most frequent substitute for a dominant chord is another dominant chord, built from the root a flatted-fifth away. In Berklee terminology, this is a “sub-five” substitution, although the term “tritone substitution” is also frequently used in theory texts. The “sub-five” of C7 is G7.
Rhythm Kicks
Working with rhythmic kicks in guitar charts usually involves playing a specific anticipation of a chord or a reinforcement of a rhythmic pattern with the drums. Although your work with reading notated rhythms is your best preparation, here are some specific suggestions for playing guitar parts with rhythmic kicks.
- Make sure that the requested voicing is placed accurately, early enough for you to sound the entire chord. This will ensure that the chord sounds good.
- Make sure that the rhythm you’re playing is locked in with the drummer, making sure that your performance feels good.
Frequently, rhythmic kicks on the up-beats (on the “and” of each beat) should be played with up strokes with the picking hand. Kicks on the down beat should be played with down strokes.
