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On Sun, Jun 10, 2012 at 12:28 AM, Rick Walker <looppool@cruzio.com> wrote:
> How did you pick the Db 7+ substitution for the G7 chord?    What was 
> your
> formula

No "formula" as far as I know. Simply look at what notes those two
chords have and you will see that most of the notes are the same.
That's why the *substitution* works. You can substitute any chord with
any other chord that covers most of the substituted chord's notes.

Here'¨s a good hands-on example:
Instead of playing the G7 as (from low note to high) G D F B you can
play G# D F B. You simply up one note by a half step to get into the
tritone zone, the diminished seventh chord.

> and what does the '+' sign mean in that chord spelling?
The "+" sign in a chord name usually means that the fifth is raised a
halv note (John Lennon is the immediate association here). In Fabio's
example the "+" comes right after the "7" so I would guess it means
that the seventh note here should be sharp (that makes sense to form
the sounding tritone chord to substitute G7).

But diminished seventh chords can be used in their own right as well,
not just for substitution. One well known example is the bridge in
When A Man Loves A Woman. If you play that song in C major the bridge
goes to F and then resolves into G. But between F and G a F# tritone
chord kicks an even higher gear for tension.

Since there are only three such chords you often see guitar players
slide such a chord up and down along the fretboard while fingerpicking
the notes. Fun thing to do, staying on the same chord "in the music"
while constantly changing the arpeggiated notes due to the different
voicings (of the same theoretical chord). A cool song and educational
example is Oscillation Cycles by Ron Jarzombek. This video is breaking
down parts to show the obvious logic in using a tritone chord as the
base for whole tone music http://youtu.be/8d5SCH0Umbs (full song,
putting all the pieces together by the end of the video)

Greetings from Sweden

Per Boysen