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	Dominant (Site not responding. Last check: 2007-11-06)
		Dominant (music) In music, the dominant\ is the music theory, the dominant chord in its root position is symbolized with...
		Professional dominant A professional dominant is a prostitutes.
		Substitute dominant In music, substitute dominant chords are also known as Sub-V (pronounced Sub Five) chords because th...
	www.brainyencyclopedia.com /topics/dominant.html (186 words)

	The Dominant Seventh and Augmented Sixth Discords (Site not responding. Last check: 2007-11-06)
		This chord is spelt 1 - 3 - (5) -
		The dominant seventh is spelt 1 - 3 - (5) -
		In jazz the process of substituting a dominant seventh chord for one whose root is a tritone away is known as tritone substitution.
	www.andymilne.dial.pipex.com /Discords.shtml (1383 words)

	Substitute
		Legion of Substitute Heroes The Legion of Substitute Heroes are a group of Legion of Super-Heroes who banded together, h...
		Sugar substitute A sugar substitute is a calories.
		Turpentine substitute Turpentine substitute is a mineral based replacement for the vegetable based organic solvent turpe...
	www.brainyencyclopedia.com /topics/substitute.html (120 words)

	Tritone - Wikipedia, the free encyclopedia
		The sound of the tritone is what lends the strong tendency towards resolution that is characteristic of the diminished and Dominant 7th chord.
		In jazz harmony, the tritone is both part of the dominant chord and its substitute dominant (also known as the sub V chord).
		For example, in the key of C Major, the primary dominant G7 may be substituted with Db7 which is its substitute dominant.
	en.wikipedia.org /wiki/Tritone (631 words)

	Jazz Education Article
		For example, one of the most well-known and widely used types of substitution is the replacement of a dominant-seventh chord with a substitute major chord with minor-seventh (thus a dominant structure) whose root is a tritone away from the root of the original dominant seventh (Ex.
		There are two common tones in this substitution (the third and seventh of the original chord remaining as the seventh and third of the substitute chord); and the remaining notes (root and fifth) of the substitute dominant consist of chromatically altered, non-diatonic pitches.
		The substitute dominant, as described above, functions as a true dominant chord and provides a powerful means (due especially to the added tension of the non-diatonic pitches) by which to express resolution to the tonic chord.
	www.iaje.org /article.asp?ArticleID=57 (2934 words)

	Music Theory: A Primer for Guitarists and Bass Players
		A dominant chord is simply the chord starting at the fifth position in the scale and is usually a chord with a flatted seventh (of its major scale).
		Dominant chords have a very strong tendency to move (want to resolve) to a Tonic chord, usually the I. The avoid notes I listed are notes that either sound dissonant if held against the associated chord or which confuse the function (tonic, subdominant, or dominant) of the chord.
		For dominant chords (chords functioning as the V chord in a progression), the seven is flatted.
	www.cultv.com /music/categories/theory.htm (2053 words)

	Tritone Substitutes Chords (b5 Substitutes)
		A dominant 7th chord is characterised by the tension set up in the tritone interval between the 3rd and the 7th, which has a tendency to resolve to the root and 3rd of the tonic (ex 8a).
		One should be aware that a b5 substitute may be unsatisfactory if the melody is on the 5th or 9th of a V7 chord due to the altered tendency of the newly created chord.
		For example the 5th of a dominant 7 chord may have a tendency to resolve down a whole tone to the tonic (ex 8d-1, but the natural tendency of a b9 (where the melody will be if a b5 substitute is created - ex 8d-2) is to resolve down or sometimes up by a semitone.
	www.petethomas.co.uk /jazz-substitute-chords.html (400 words)

	Chord (Site not responding. Last check: 2007-11-06)
		The II and IV chords have Subdominant Function, partially due to the fact that they are a fifth away from the Dominant chords of a key, and partially because in their own Tonic keys, their respective Dominant chords are built on the root notes of the stable Tonic function I and VI.
		Called the Dominant Seventh because its intervallic relationships occur naturally in the seventh chord built on the dominant scale degree of a given key, the dominant seventh chord was the first to begin to appear regularly in Western music.
		The dominant seventh chord is useful to composers because of the fact that it is a major chord with a very strong sound, that also includes a tritone between the third and seventh of the chord.
	www.city-search.org /ch/chord.html (2413 words)

	Sonata Form [M.Tevfik DORAK]
		This is because the dominant key must be arrived and established despite the pull of the tonic.
		Although the modulation to the dominant has a historical value, there is no reason why there should be any restriction on the keys used to establish the contrast with the tonic [p.35 in Ref.1].
		At the end of the first transition theme, the dominant of the dominant is reached (b.451) through an augmented sixth on the flattened mediant (b.44).
	members.tripod.com /~dorakmt/music/sform.html (3897 words)

	Marc Sabatella's Jazz Improvisation Primer: Playing Changes
		The chords are usually all played as dominant seventh chords, although they are not actually functioning as dominant chords in that they do not resolve to a tonic.
		This diminished chord is serving as a substitute for the dominant seventh, since both Bdim and Bb7b9 share the same Bb HW (B WH) diminished scale.
		The important characteristics of rhythm changes are the repeated I-VI-ii-V (or substitutes) in the first four bars of the A sections, and the basic tonality movements by fifths in the bridge, leading back to the original tonic in the last A section.
	www.outsideshore.com /primer/primer/ms-primer-5-2.html (2564 words)

	Tonality and Harmony: Chord Types (Site not responding. Last check: 2007-11-06)
		An extended tertian chord, however, is often built on scale degree 5 to function as a dominant; 9th and 11th chords may be built on scale degree 2 and serve as a subdominant chord.
		Pre-Dominant Chords: are chords that precede the dominant (or sometimes the tonic six-four and then the dominant) in a cadence.
		Secondary Dominant (7th) of V: is a major triad or a major-minor 7th chord built on scale degree 2 (with scale degree 4 chromatically altered to #4).
	www.music.indiana.edu /som/theory/t511/chords.html (756 words)

	Substitute dominant - Wikipedia, the free encyclopedia
		In music, substitute dominant chords are also known as Sub-V (pronounced Sub Five) chords because they originate from a reharmonisation of the original dominant chord.
		By keeping the original B and F notes and changing the root note to Db, you get a new dominant chord which is the Db7.
		This can be done on any dominant chord that originally intended to resolve a perfect fifth down, creating a new resolution a half-step down.
	en.wikipedia.org /wiki/Substitute_dominant (223 words)

	Chord Substitution Studies (Site not responding. Last check: 2007-11-06)
		This tritone substitution or extension of a 2-5-1 type progression may be characterized as a major 2-5 progression.
		This movement from a diatonic scale to a melodic minor a half-step above the "dominant" chord (the "dominant" being the "in-between" seventh chord in a 1-4-7, #4-7-3, 3-6-2, 2-5-1 progression or anything having a similar relation of intervals) then back to the diatonic scale may be generally referred to as a Major 2-5-1 progression.
		Remember that substitution of major or minor 2-5’s can occur whenever taste dictates, and if the proper scales are implemented, then the line will sound good if composed and/or played well.
	guitar-masters.com /Subst/Jazz3.html (1377 words)

	Lesson 31: Flat-Five Substitution
		That substitute chord is a diminished 5th above the the original chord.
		It is called a Flat-Five Substitute because if you are in the key of E the V note is B, and the bV is Bb hence the name Flat-Five.
		Another great thing about this substitution process is that you do not have to substitute a Dominant 7th chord for a Dominant 7th chord.
	www.personal.psu.edu /users/f/p/fpm108/glw/lessons/lesson31.htm (482 words)

	Harmonic Techniques to Create Moving Chord Progressions using Three Note Voicings
		S2 - For a major triad, substitute a minor 7th chord whose root is a up a major third.
		S5 - For a dominant 7th chord, substitute a minor 7th chord whose root is up a perfect fifth.
		S6 - For a dominant 7th chord, substitute a dominant 7th chord whose root is up a tritone.
	www.freddiegreen.org /technique/rthmchg.html (671 words)

	Guitar Files - Arpeggio Substitution
		For example Am7 chord is often substituted for C chord and C is often substituted for Am7.
		C6 is a very common embellishment and substitute for a "vanilla" C. When you experiment with arpeggio substitution it is important and fun to determine how you have changed the chord.
		Diatonic means of the key which means your substitution arpeggios are harmonized from the same scale (or key).
	www.theguitarfiles.com /guitarfile-print-279.html (815 words)

	Lecture for June 2001
		This tritone is shared by a second dominant seventh built upon the lowered 5th degree.
		Bass players are aware of this substitute bass note and use it frequently, since it yields a half-step bass note motion to the chord of resolution.
		For instance, a b13 on the original dominant 7th becomes a natural 9th on the substitute, b9 becomes 5, #9 becomes natural 13.
	www.jazz-books.com /jmflect7.htm (359 words)

	[No title] (Site not responding. Last check: 2007-11-06)
		That is, they do not function as harmony with respect to what is sometimes called a "tonal center." They are usually substituted for dominant seventh chords and they most often connect other chords generated by major or minor scales.
		They are widely used in jazz to reharmonize simple chord progressions using the dominant cycle of fourths.
		Diminished chords substitute for a dominant seventh -9 chords.
	ww.banjohangout.org /lessons/files/172.txt (264 words)

	chord substitution
		The tritone substitution is a dominant 7th chord whose root is a tritone (3 whole steps) away from the original dominant 7th chord.
		Using the tritone substitution, the roots of the ii-V-I progression move down by half-steps, instead of ascending 4ths.
		The omitted/added root substitution exchanges the root of the given chord for a root a third or fifth higher (occasionally lower.) The substituted chord still retains several pitches of the original, implying the same harmony, but can also point toward different directions--both in key and function.
	hum.lss.wisc.edu /jazz/substitutions.html (677 words)

	Dolmetsch Online - Music Theory Online - Key Centres
		By substituting a major triad for the minor triad in the Vmi chord (raising the seventh of the natural minor scale by a semitone) or by adding a seventh to give a dominant seventh chord, the 'leading' note is returned to the minor scale.
		A functioning dominant seventh, which because of the dissonant 'tritone' between the major third and minor seventh, wants to resolve to a tonic chord, may be replaced with a dominant seventh chord with its root a diminished fifth, a 'tritone', away.
		Whichever of the four notes lies in the bass, the diminished seventh, will successfully substitute for the dominant seventh because in all four variants the leading note is present and it is this that 'resolves' by moving to the tonic in the final I chord.
	www.dolmetsch.com /musictheory31.htm (4148 words)

	chord substitutions
		It is called the dominant because it is a very strong and has a powerful tendency to move toward the key center (the first tone of the scale).
		Technically this is a dominant major ninth chord, because the interval from g to a' is a major ninth.
		F/G is really a dominant chord in the key of C and the root is of the chord is G, not F. Anyway, I am digressing a bit from the main point of this lesson, so let me continue.
	www.lovemusiclovedance.com /chord_substitutions.htm (2265 words)

	Learning Jazz Tunes - Creative Keyboard, September 2001 (Site not responding. Last check: 2007-11-06)
		A tonic substitute (III or VI, for example) may provide a partial resolution after a V; a dominant substitute (bIIdom or bVIIdom, for example) may provide tension without actually being a V. If you see a minor 7 chord followed by a dominant 7, suspect II V in a major key.
		Dominant 7 chords will be V, but in a blues may be I or IV; could also be secondary dominant, bVIIdom, bIIdom (sub V), or bVI in minor.
		Augmented 7 chords (dominant #5) will be V. Dominant chords with major 9 or #11 imply V in major, V of II, sub V, or bVIIdom; extensions b9, #9, or b13 (or "alt") imply V in minor, or a secondary dominant headed for a minor chord.
	www.melbay.com /creativekeyboard/sep01/learningtunes.html (922 words)

	Lesson- 'Chord-Melody Arranging'
		With a chromatic approach here, the C# would be harmonized by an Amaj7, with each voice moving in parallel motion one half step higher to a corresponding note in Bbmaj7 (third to third, fifth to fifth, etc.).
		The dominant approach harmonizes the approach tone with the dominant (V7) chord of the chord the harmonized note is approaching.
		In this case, B7 (B D# F# A) is the substitute dominant for Faug7 (F A C# Eb–remember that Eb is the same as D#).
	www.acousticguitar.com /lessons/Chord_Melody/2.html (777 words)

	Banjo Hangout Discussion Forums ARCHIVE - Dominant Study #83
		Dominant seventh chords can be extended to the 9th, 11th, and 13th and a quick way to think of and utilize extended harmony for any dominant seventh chord is to substitute a major seventh chord a whole step (2 frets) below the root.
		The interval between the 3rd and the 7th is called the tritone (3 whole steps) and it is unique to the dominant seventh chord.
		It is called the tritone interval or the 3rd and 7th of the dominant chord.
	www.banjohangout.org /forum/topic.asp?TOPIC_ID=23708 (3124 words)

	Selected articles from (Site not responding. Last check: 2007-11-06)
		of a "G7" chord and a "G7" chord is a secondary dominant of the primary "V" chord which is "C7".
		The "I" chord reappears in measure seven, travelling to a secondary dominant in measure eight, "D7".
		This flat-five substitute is replacing a "C7" chord, (Gb is a dim.
	www.mbblues.mb.ca /s99poss.html (343 words)

	[No title] (Site not responding. Last check: 2007-11-06)
		Definition: chord substitution: using one chord as a replacement for another; using a chord-based bass note sequence as a replacement for another.
		You can create substitute chords or new chord-based bass note sequences by choosing notes (single notes or multiple notes) which have strong tendencies to resolve into notes in the next or upcoming chord or chord-based bass note sequence and making them the basis of your new chord or sequence.
		There are various other more structured methods or systems for chord substitution such as Tritone Substitution which uses substitute dominant 7th chords of which the tonics are three whole tones (six half-steps) away from the tonic of the substitutee.
	www.rockbass-beginnertoproinfourweeks.com /LESSONS/26.HTM (1460 words)

	Dominant ninth chord
		So you could use as a substitute for a 9 chord, a half-diminished seventh chord a major third higher than the 9 chord.
		It is said that the dominant (V) chord is the most common chord (after the I).
		Speaking of substitutions, the dominant note (5) of the major scale as a functional position probably sees more substitutions of extended and altered chords on that spot than any other note (functionally).
	members.aol.com /snglstringtheory/archive/aug8.html (1279 words)

	[No title]
		The most common use of the diminished chord is as a dominant substitute.
		The V and viio chords are the dominant function chords.
		In this case it is also possible to substitute D7 for the F#o7 because the chords are essentially the same and because the bass motion works.
	www.justjazz.com /ed/dim7.txt (2651 words)

	Class Notes Chapters 13 - 14 (Site not responding. Last check: 2007-11-06)
		Hoagy Carmichael's song Heart And Soul, which we've all noodled around with since we were young, uses a vi chord to divide the space between I and IV.
		It also sometimes appears in major pop tunes as a substitution (usually quickly departed from) for V. The Beatles' All My Loving is an example of this use of the subtonic.
		In a deceptive cadence, of course, the vi serves as a tonic substitute.
	home.fuse.net /wfmusic/mus123notes/mus123notes1.html (623 words)

	Tom Pankhurst's TonalityGUIDE (pilot project) (Site not responding. Last check: 2007-11-06)
		Because vii is a diminished triad and therefore considered unstable, the progression from this chord to the much more stable tonic produces a strong sense of tension resolution.
		As shown in the example below, it functions as a sort of substitute for the dominant - being the same notes as a dominant seventh but without the root.
		This example from a Haydn String Quartet shows the overlap in function between vii and V. The effect at the end of the first bar and beginning of the third is of dominant seventh to tonic, but strictly speaking the chord in both cases is vii, because there is no F in the chord.
	www.tonalityguide.com /xxviitoi.php (149 words)

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