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Originally Posted by Rockerbob
Whips & Leather?
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It took me a minute to get that!
Hope I referred to the Nashville system correctly. I just meant building chords on the scale degrees and giving them the names I, II, III, etc.
Fretsource, as you say, when you substitute for the V chord, you have two notes in common anyway, and that's as far as I've actually experimented with it so far.
bmurnahan, that is one of those posts that is so awesome, I'm just going to have to mull it over. It is exactly what I was after.
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Using b5 subs you would get Gmaj7 Bb7 A7 Ab7.
Using b5 subs creates nice chromatic motion in the bass line.
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That's how I have seen it used. A guy goes to me, "You'll have to learn to use tritone substitution" and starts playing a chromatic chord thing, one beat to each chord. I just couldn't see how you got from what Fretsource was saying, to
that! I still don't get it, but I imagine after playing through and thinking about the progressions you've written, it'll be clearer. I love the chromatic bassline thing.
When you are making those subs, are you actually thinking about notes in common, or just that you can slip in a chord a b5 away? ie is it something you do on the fly while accompanying, or do you sit down and work it out?
I'm going to print that post out and mull over it and play the examples. Awesome!