tons of questions

I've been playing for over 10 years now, and I have not been able to find much out about modulation, or chord substitution. Is there an easy way to go about these two things? Also, sometimes I hear musicians playing a good lead part they will play a certain riff a couple of times which resolves back to a note, but on the last time around they will resolve to a completely different note, which in turn gives them to change scales, key, and even take very dramatic turns. Most of this comes up because I went to a festival with a band called the "Disco Bisuits" and they seem to have ultimate control over these types of things, and I would recommend anyone who wants to increase their earpower to listen to these guys, all their music is freely distributed and it is great! Here's a link to one place you can download one of their shows for free
http://www.archive.org/audio/etree-details-db.php?id=32506

I'd suggest you download "Hotair Balloon" first, but you'll probably be amazed and start downloading like crazy like i did
Another favorite band of mine was Phish and they too had amazing ability for these modualtions and chord substitution.

My overall question I guess is quite convoluted, and will take years of experimentation, but I'm hoping there are some people who will have an idea of what direction I should be going in.

Seriously though check that band out, you'll become better just listening to it.

thanks for your time and I can't wait to hear what sorts of things people will say since this is my first post.

I do know a thing or two about chord subsitution. I even have a short free lesson on it here:

http://www.guitartricks.com/lesson.php?input=7941

That's all I've got for now. it's late

Thanks for that piece. If anyone ever asks why theory is useful, this is a direct reason why. You can play the same three chords over and over again, but I think it sounds better to when you can slightly tweek the chords your playing to give a distinct sound. question about your lesson though. Do you have to use your ear to determine which notes are the most important in a chord or is there a formula for this? Also, do you know if single notes can be substituted? Thanks again for your feedback it's been a big help.

In a 4 note chord that is constructed by taking the 1st, 3rd, 5th and 7th notes from a scale, the most important notes from that chord (the notes that make it sound like that chord) are the 3 and the 7

For example:

Eminor7: the notes are

1: E
3: G
5: B
7: D

You could take out either the E or the B from that chord and it will still sound pretty much like an Eminor7, because the 3rd and 7th are still intact.
So when it comes to substitution, all you have to do is play a chord that contains at least three of those notes (including the 3rd & 7th) such as
Gmajor7 for example (G B D F#) which is a common substitution for Eminor7

Regarding your question about single notes being substituted, I assume you mean within a chord such as:
Eminor7: E G B D
to
Eminor6: E G B C

I don't have too much to say about that one, as it's a taste thing really.

Originally Posted by: Julian VickersIn a 4 note chord that is constructed by taking the 1st, 3rd, 5th and 7th notes from a scale, the most important notes from that chord (the notes that make it sound like that chord) are the 3 and the 7

For example:

Eminor7: the notes are

1: E
3: G
5: B
7: D

You could take out either the E or the B from that chord and it will still sound pretty much like an Eminor7, because the 3rd and 7th are still intact.
So when it comes to substitution, all you have to do is play a chord that contains at least three of those notes (including the 3rd & 7th) such as
Gmajor7 for example (G B D F#) which is a common substitution for Eminor7

Regarding your question about single notes being substituted, I assume you mean within a chord such as:
Eminor7: E G B D
to
Eminor6: E G B C

I don't have too much to say about that one, as it's a taste thing really.

If you take the E out it's gonna sound like Gmajor, not Em7.

Originally Posted by: Jolly McJollysonIf you take the E out it's gonna sound like Gmajor, not Em7.

I guess I should have phrased that better. In a jazz situation (the kind that I get into all the time) if the bass player is playing an Eminor7 bassline, if you play Eminor7 minus the E (G B D), it will still have the same tonal qualities. Of course while you can take out the E, it is more common to leave out the B (the 5th)
For example, many people play Eminor7 like this, missing the 5th out.

--------------
--8-----------
--7-----------
--5-----------
--7-----------
--------------
or Eminor9 like this

--------------
--7-----------
--7-----------
--5-----------
--7-----------
--------------

In both cases you are missing out the B (which is the 5th)

Originally Posted by: Julian VickersI guess I should have phrased that better. In a jazz situation (the kind that I get into all the time) if the bass player is playing an Eminor7 bassline, if you play Eminor7 minus the E (G B D), it will still have the same tonal qualities. Of course while you can take out the E, it is more common to leave out the B (the 5th)
For example, many people play Eminor7 like this, missing the 5th out.

--------------
--8-----------
--7-----------
--5-----------
--7-----------
--------------
or Eminor9 like this

--------------
--7-----------
--7-----------
--5-----------
--7-----------
--------------

In both cases you are missing out the B (which is the 5th)

I see, so you have the bass player laying the E in the bass. Ok, that works.

this is great information, and I thankyou for helping me out.

The reason I'm wondering is because I'm trying to figure out if these types of chord subs. could be used as pivot notes in which you could then modulate the music with, in order to write something such as a fugue, where you have a subject phrase and then one or more phases that answer to the subject.
A fugue incase you're wondering has a pretty good definition here

http://en.wikipedia.org/wiki/Fugue

if you listen to the samples on the site they are pretty good. In fact another way I've heard people describe a fugue is that there will be a central foundation of the music and then two or more voices will play completely seperated parts around that one central foundation.

Could there chord substitutions be used as a way of having two voices play around the same peice and how would one be able to farther away from the central foundation and with them and back again?

If your trying to write something like a fugue, try looking into and studying some voice-leading concepts and counterpoint. Knowing more about those two things will help you understand what you might be trying to do.

The key to changing the music (in a drastic way) is to keep a small idea from the original idea and keep it going with a harmony over that part work itself towards the change. If the original idea is stable throughout, returning to its original form will be strong enough not to deceive the listener.

Motives are the key to this stability. Motives are small musical nodes, or the atom of a musical piece. They are usually only a couple of notes long, check the internet for a more descriptive definition and explanation. Motives then in turn can be changed and adapted throughout the piece, however they still keep the foundation that remains throughout the song. Keeping everything glued together. Check out Beethoven's 5th Symphony, 1st Movement to hear the most common rhythmic motive. Listen to how the rhythm stays static while the notes and direction of the music changes.

One way to change keys melodically is through a leading tone. The leading tone is the tone a half-step lower than the root of a scale. Ex. C major, the leading tone is B. However any note in a scale can be considered a leading tone, however for a different key. Ex. The Note 'E' exists within C major, but 'E' can also be considered the leading tone to move to the key of F. So through E you can go from C major to F (maj. or min.).

Chord Substitution is used best when your trying to harmonize a melody. Say the melody note is E (in the key of C major), and you want to play a chord to go with that melody note. Well the best place to start would be to use the chord that matches the melody note, which would be Em. But instead of using a chord that matches, you want to use something different. Well any chord with E in it will work. Let's just say you want to go with a C major chord instead. That's chord substitution.