VI - Analyses en jazz
VI.5 - La substitution tritonique
VI.5.1 - Définition
Cb et B sont enharmoniques.
Réalisation du II - V - I avec la subtitution tritonique. Cela devient II - bII7 - I :
Q:1/1=40
%%player_no_voice
%%piano3+2CD
K:C
[V:C] "Dm7"x | "Db7"x | "CM7"x || "Dm7"x | "Db7"x | "CM7"x |]
[V:D] "IIm7"x | "subV7"x | "IM7"x || "IIm7"x | "subV7"x | "IM7"x |]
[V:1] x | x | x || x | x | x ||
[V:2] A | !green!_A | G || A | !green!_A | G |]
[V:3] F | !o>(!!orange!F | !o>)!E || C | !red!!n>(!_C | !red!!n>)!B, |]
[V:4] C | !n>(!!red!_C | !n>)!!red!B, || F, | !o>(!!orange!F, | !o>)!E, |]
[V:5] D, | _D, | C, || D, | _D, | C, |]
On ajoute une neuvième pour chaque accord :
Q:1/1=40
%%player_no_voice
%%piano3+2CD
K:C
[V:C] "Dm7,9"x | "Db7,9"x | "CM9"x || "Dm7,9"x | "Db7,9"x | "CM9"x |]
[V:D] "IIm7"x | "subV7"x | "IM7"x || "IIm7"x | "subV7"x | "IM7"x |]
[V:1] !green!e | !green!_e | !green!d || A | !green!_A | G |]
[V:2] A | !green!_A | G || !green!E | !green!_E | !green!D |]
[V:3] F | !o>(!!orange!F | !o>)!E || C | !red!_C | !red!B, |]
[V:4] C | !red!_C | !red!B, || F, | !o>(!!orange!F, | !o>)!E, |]
[V:5] D, | _D, | C, || D, | _D, | C, |]