
Tired of playing the same old dominant 7 chords during a blues? Let’s fix that.
Intermediate
Intermediate
- Learn what chord substitutions are and how they work so that you can get more color out of your rhythm guitar playing.
- Use extensions on dominant 7 chords as a way of creating new substitutions.
- Play practical examples of substitutions within various blues grooves while maintaining the standard blues harmony.
Staying creative and phrasing musically while playing chords, especially over a blues progression, seems like an impossibility to many players. After all, most blues songs contain only three chords, the I, IV, and V. So how can you make those simple chords more interesting? The answer is by using chord substitution.
Substitution is when two chords share enough notes in common that by exchanging one for the other, the overall harmonic function remains unchanged, but the color and very often the melodic nature of the chords is enhanced. By adding extensions to standard dominant 7 chords found in a blues, you can see a whole new world of substitutions become available. No longer will you be stuck playing two or three shapes for an A7 chord, but rather you’ll be equipped with a massive palette of colorful chords that will catapult your blues playing to another dimension!
Dominate the Minor Subs
Most players are familiar with playing dominant 9 chords; they are, after all, very commonly used in many genres of music, especially the blues. The most common form of this chord can be found in the first measure of Ex. 1. This A9 chord contains the five notes of a dominant 9: 1– 3–5–b7–9 … or in terms of note names: A–C#–E–G–B.
The 9 in the A9 chord is considered an extension because it takes the foundation of the dominant 7 chord (1–3–5–b7) and “extends” it by an extra third, creating the 9. In measure 2 you can see that removing the root note (A) will leave you with a four-note chord: C#–E–G–B. This coincidentally is the exact spelling of a C#m7b5 chord. Yes, this means that within an A9 is a C#m7b5.
By removing the root note of an extended dominant chord you are left with a new chord that can easily be substituted in place of the original dominant 7. This means that in nearly every circumstance you can substitute a m7b5 chord for a dominant 7 because within the dominant 9 version of that chord lies the corresponding m7b5. In order to transpose this to any key, you simply build a m7b5 chord upon the 3 of the dominant 7, as seen in measures 3 and 4. C# is the third of A7 and so you can substitute a C#m7b5 for any A7 and it will retain the function of the A7.
Ex. 2 highlights this in the context of the first four measures of a blues in A. The first two measures are a standard A7 riff, however measures 3 and 4 utilize the m7b5 substitution. In this case the C#m7b5 is used to create harmonic and even melodic variety by sliding in and out of the chord from a half-step below. This is a common technique in jazz-blues playing.
Summary: Extending a dominant 7 to a dominant 9 creates a m7b5 chord built on the 3 of the dominant chord. Playing this m7b5 chord in place of the original dominant 7 is harmonically acceptable because it is implying the dominant 9 tonality, even without the root note being present.
Dominant 13 Chords
Following this concept of extending chords, a dominant 13 chord is another common variation of a dominant 7. Unlike piano players, guitarists don’t have the luxury of playing with all 10 fingers, so we must make exceptions. A fully extended dominant 13 chord would contain all seven notes of a key: 1–3–5–b7–9–11–13. Since we are limited in the number of notes we can realistically play, it’s important that we cut out unnecessary notes. It’s very common to cut out the 5, 11, and even the 9, leaving the chord spelled as: 1–3–b7–13.
In the beginning of Ex. 3 you can see a standard A7 chord voicing. There is only one note difference between this voicing and the A13 chord found in measure 2. Namely the E (5) located on the 2nd string. By removing this note and replacing it with an F# (13) we have essentially created an A13 chord.
If desired, playing the 9 as part of this A13 is always an option (A–C#–G–B–F#). In measure 3 you can see this A13 chord, but it is often cumbersome to play while including the bass note. Removing that root note will leave you with a b7–3–13–9 shape. Just as removing the root in an A9 chord left us with a C#m7b5, removing the root note of this A13 leaves us with a new four-note chord: Gmaj7#11. This may seem like a complicated way of saying “A13 with no root note,” but it goes to show you that the substitutions for a dominant 7 chord can be profound.
In Ex. 4 you can see the first six measures of an blues in A with the addition of a Gmaj7#11 in measures 3 and 4. Measure 5 introduces a D9 which is then substituted with an F#m7b5, recapping the first substitution we discussed (building a m7b5 upon the third of any dominant 7 chord).
Summary: Dominant 13 chords are most often played on guitar without the 5, 11 and occasionally the 9. However, swapping the 9 for the root creates: 3–b7–9–13. By making the b7 the new “root note” of this substitution chord you create a major7#11. An easy way to implement this into your everyday playing is by building a maj7#11 chord on the b7 of any dominant chord. In the case of an E7 you would substitute a Dmaj7#11 which would create the same harmonic function as an E13.
“Hendrix” Chord Subs
Just as the name implies, a dominant #9 chord is a dominant 7 chord, with a #9 extension. Commonly known as the “Hendrix” chord, this is a very useful extension for any dominant 7. The interesting thing about this chord is that the #9 is also the same tone as a b3. The reason for it being called a #9 is that in a dominant chord, there is already a 3, and it’s major! Since you can’t theoretically have both a 3 and a b3 in a chord, that b3 must be called a #9 instead (this is called enharmonic spelling).
Looking at Ex. 5 you can see an E9 which is spelled as E–G#–D–F#. Notice the conspicuous lack of a 5. This is very common in many chords because the 5 adds nothing harmonically to the chord. In measure 2 the F# is moved up a half-step to create an E7#9 chord. In measure 3 you can see another extension added to the E7#9; it would be the #5 added by barring the fourth finger across the top two strings at the 8th fret. This is another very common extension and one that creates a new substitution when the root note is removed.
The spelling of the E7#9#5 is: E–G#–D–F##–B#. Why B#? Well because it is a #5 it must be called B#. B is the fifth of E and a #5, according to enharmonic spelling, means that it must be called a B#.
Compare the chord shape in measure 4 to the chord shape of the Gmaj7#11 from the previous example. That’s right, it’s the exact same chord shape! This means that by playing an E7#9#5 and removing the root note, you are left with a G#maj7#11…I told you extensions can lead to profound new substitutions!
Ex. 6 outlines a typical blues turnaround. The standard turnaround being E7–D7–A7–E7, this version begins by using an E7#9 in place of an E7. This upper note then descends chromatically to form an E9 on beat four and then to a D7#9. Next is a standard blues walk-up which takes you to the E bass note at the beginning of measure four. However, the ending of measure 4 introduces the G#maj7#11 which is the substitution for an E7#9#5.
Summary: Adding a #9 to a dominant 7 chord creates the common “Hendrix” tonality that allows players more freedom to solo. However, barring the fourth finger across the top two strings creates another extension, the #5. This chord, E7#9#5, when played without a root note is spelled as G#–D–F##–B#. This spelling creates a G#maj7#11.
Dominant 7b9 Chords
One of the most versatile dominant chords imaginable is the dominant 7b9 chord. Just as the name suggests, it is nearly identical to a dominant 9 chord except in this case, the 9 is flatted by one half-step, hence the name “dominant 7b9”.
Looking at Ex. 7 you can see a D9 chord in measure 1 spelled out from 5th string to 1st as: D–F#–C–E–A. In measure 2 is a D7b9 chord spelled out as: D–F#–C–Eb–A. There is only one note difference between these two, but that b9 makes a huge difference in the function of this chord.
Moving on to measure 3, we remove the root note and end up with a F#dim7. Here is where things get really interesting. Diminished 7 chords are symmetrical, meaning they are comprised entirely of minor thirds. The notes of this F#dim7 chord are: F#–C–Eb–A. Now if you move this same chord shape up a minor third on the fretboard (three frets) you’ll get an Adim7 chord. The spelling for this chord is: A–Eb–F#–C. That’s right, it’s the exact same set of notes in another inversion. Move it up another minor third and you get Cdim7 and one more minor third will get you Ebdim7.
Essentially, all these diminished 7 chords can be considered a substitute for a D7b9 because they all share the same exact set of notes—minus the D root note. The implications of this are enormous because now the option to play diminished scales and chords can be easily superimposed on top of any dominant 7 chord.
A great way to conceptualize this while playing is to first become familiar with the chord shapes for diminished 7 chords so you can easily finger them in the midst of a song. Then simply look for any of the following four notes within a dominant 7 chord: 3–5–b7–b9 and build your diminished 7 chord on one of those tones. From there you are free to move that chord shape up and down in minor third intervals and you’ll retain that dominant 7b9 harmony the entire time.
Look at Ex. 8 and you’ll see a full 12-bar blues progression in A that uses the sub techniques we’ve covered so far. I’ll point out a few things to take note of. In measure 6 the F#dim7 is moved up a minor third to Adim7 and then to Cdim7. These two measures are utilizing the harmonic function of a D7b9 without the root note.
Going into measure 8, the diminished 7 substitution is once again present, but this time it’s used in place of the A7 chord normally found in this measure. In place of an A7 we are substituting a C#dim7 followed by a Bbdim7 and a Gdim7. Remember this diminished 7 chord substitution works on the 3–5–b7–b9 of any dominant chord. In this case, these three diminished 7 chord substitutions are built on the 3, b9, and b7 of A7b9.
The final measure introduces another of the substitutions we’ve discussed, the maj7#11. In this case the Dmaj7#11 is substituted for the E7 that normally occurs in this bar. This Dmaj7#11 functions as the upper structure of an E13 chord, without the root note.
Summary: Dominant 7b9 chords are essentially equivalent to a diminished 7 chord. By removing the root note of a dominant 7b9 (1–3–5–b7–b9) chord you are left with a diminished 7 chord which is symmetrical and can be moved up or down in minor thirds. This diminished 7 chord can be built on the 3–5–b7–b9 of any dominant chord and will retain that dominant 7 function, albeit with much more tension and color.
Admittedly, there’s a lot of info here, so don’t feel like you need to hop on all of these ideas at once. Pick one, try it out, explore it, and maybe even write a tune with it. Only then will it become a part of your vocabulary. Good luck!
Squier Affinity Starcaster Deluxe
Two extra-affordable versions of quirky instruments from Fender’s late-1960s-to-mid-1970s period deliver unexpected—and out-of-the-ordinary—playing pleasures.
High style on the cheap. Excellent construction for this price class. Nice feel under the fingers.
Pickups can sound brash.
$349
Squier Affinity Starcaster Deluxe
fender.com
The years 1969 and 1976—which bookend the releases of the original Telecaster Thinline and Starcaster—mark a strange period for Fender. They don’t signal a lost era as pre-CBS purists might insist. But there’s no doubt Fender was firing more wildly at an increasing number of moving targets—from shifting musical sands to improving import competition.
But if the very late 1960s and early/mid 1970s didn’t yield design icons on the order of the Stratocaster or Telecaster, they were a creative time for Fullerton. Few models represent that spirit—and Fender’s fluid state—quite as well as the Telecaster Thinline and Starcaster. The first was an evolution of Fender’s first solidbody executed by Roger Rossmeisl, the visionary designer behind the Rickenbacker 330 and Fender Coronado. The second was an altogether new design that, in quintessentially ’70s Fender style, managed the unlikely (some might say unholy) marriage of Jazzmaster and Gibson ES-335.
But as the ultra-affordable Squier incarnations of the Telecaster Thinline and Starcaster reviewed here prove, the folks at Fender of the late ’60s and early ’70s are entitled to a hearty last laugh: These designs are timeless and appealing enough to be around half a century later. And even in these inexpensive versions they offer genuinely interesting, stylish, and highly playable alternatives to other instruments in their price class.
Squier Affinity Starcaster Deluxe
Though collectors would have ultimately pounced on the semi-hollow Starcaster for its rarity (they were made for only four years), Radiohead’s Jonny Greenwood elevated the profile of the instrument when it was far from fashionable. More recently, blink-182’s Tom DeLonge, who now has a stripped-down signature Fender version, did much to popularize the shape. The Affinity Starcaster Deluxe is closer to DeLonge’s signature guitar, in both form and function, than Greenwood’s vintage specimen or, for that matter, Fender’s import reissue from the 2010s, or Squier’s own Classic Vibe version. Most critically, the Affinity version uses a standard humbucker with the shape and construction of a PAF rather than the Fender Wide Range, as well as a streamlined control array.
Casting Skyward
The Squier humbucker is more compressed, midrange-y, and less airy than both a Fender Wide Range pickup and the humbuckers in a contemporary Epiphone 335s—guitars which are at least $200 more than the Affinity Starcaster (not coincidentally, perhaps, in the ballpark of what a pretty nice set of PAF replacements would cost). But it’s worth spending time with the Squier humbuckers before you think about an upgrade. They are charming in their own right. By itself, the bridge pickup can be a little brash, particularly if you use a heavy touch with a pick. Lighter attack and amp tone attenuation goes a long way toward taming its more spiky tendencies, enhancing touch responsiveness, and getting glassy tones to sing a bit more. The neck pickup needs a very different treatment. I needed to bump the treble on an already bright AC15-like amp to extract the kind of tone spectrum you’d expect from a PAF, though it was quite round and chimey once I got it there. Cool sounds are here, you just may have to work for them a bit. The combined pickup setting is the sweetest sounding of the three. It also generates the sounds that communicate the most semi-hollow resonance and personality. All three settings would benefit from rangier pots. They have a pretty steep curve and limited useful range. Rolling the volume back just a few clicks, for instance, results in a fair bit of treble loss, and there’s not much variation to play with once you move through the first third of the control’s range.
Get Yer Head Straight
Curiously, Fender opted for a Stratocaster-style headstock rather than the less-ornate version of the original Starcaster headstock profile used on the standard Affinity Starcaster. While it looks sharp and balanced, it’s hard not to miss the unusual headstock shape that helped make the original Starcaster so completely different. None of this, of course, has any bearing on the Starcaster’s playability, which is really nice. The jumbo frets make active, expressive finger vibrato moves feel natural, which is nice given how the pickups and semi-hollow tones encourage you to linger on notes and use bluesy bends and phrasings.
The Verdict
One of the Indonesia-built Affinity Starcaster Deluxe’s nicest surprises is the overall quality of the construction. The neck joint is tight, the fretwork is free of sharp ends, and the finish is pretty. The pickups could be a little airier, and the smaller PAF routs probably preclude installation of Wide Range pickups, which begs a question: Would you rather pay 80 bucks more for a Squier Classic Vibe Starcaster, which offers Wide Range-sized pickups, independent volume and tone for each pickup, and a more vintage-correct headstock? I’d probably be inclined to lean that way. But considering that most affordable semi-hollows from Epiphone and Gretsch are at least $100 to $200 more, the Affinity Starcaster Deluxe is a value star with ample style that sets it apart.
Squier Affinity Telecaster Thinline
If you don’t have much bread but crave a Telecaster, the Squier website is like cruising a little paradise. As of this writing, there’s 25 ways to satisfy your jones—all for less than $500 and as inexpensive as $199. But few combinations of good looks and price stand out quite like the Affinity Telecaster Thinline. The elegance of Leo Fender and George Fullerton’s original body profile and Roger Rossmeisl’s modifications (in particular, the cresting wave pickguard) add up to a balanced whole rather than a mess whipped up by too many cooks in the kitchen.
But the Thinline is more than a style exercise. It’s a true semi-hollow with center-block construction like an ES-335 or, for that matter, the Starcaster. As a result, the Affinity Thinline is crazy light, weighing less than seven pounds. There is some downside to this lack of body heft. The guitar is prone to neck dive unless you’re wearing an especially grippy strap. But because it’s so comfortable in every other respect, you tend not to notice once you have the neck in hand.
Quest for Twang
The neck itself is maple with an additional maple fretboard cap, but the satin finish certainly takes satin to the extreme end of its definition. Though smooth and comfortable, it feels just a touch too close to unfinished for my tastes—a condition that will no doubt be remedied by many more playing hours. There are no complaints about how the guitar feels as a player, though. The action is fast and low, there’s no fret buzz, and the intonation is dead on, making this the first guitar in this price class I’ve encountered in a long time that didn’t need a significant bit of additional setup work. Even more impressively, the Thinline is tuning stable. Poor quality tuners and poorly cut nuts are often obstacles to tuning stability on inexpensive instruments. That’s not the case here, and the Thinline held up to heavy-handed, Who-’65 strumming without flinching.
The pickups deliver quintessentially Telecaster sounds, but with a twist. Whether it’s the semi-hollow construction, the ceramic pickups (Telecaster pickups are generally alnico), or a combination of factors, the Thinline has discernibly softer attack and transients than a good upmarket version, which results in a squishier low-midrange. This means a little less honk in your honky-tonk, but it makes the Thinline a lovely jangle machine—particularly in the bridge position. And if the neck pickup seems to broadcast particularly soft transients, with a bump in top end and mids from your amp, it’s a lovely vehicle for soul ballads and mellow vocal accompaniment.
The Verdict
To a dyed-in-the-wool Tele head, the Affinity Telecaster Thinline might come across as a little spongy. But it’s a fantastic guitar for rhythm work and throwing a cheap, secondhand Boss SD-1 overdrive in the mix made the Thinline snarl and rip. At $299 before tax, it’s hard to imagine a cooler inexpensive path to twangin’ and more.
Squier Affinity Series Starcaster Deluxe Semi-hollowbody Electric Guitar - Sienna Sunburst
Affinity Strat, Sienna SunburstSquier Affinity Series Telecaster Thinline Electric Guitar - 3-color Sunburst with Maple Fingerboard
Affinity Tele, 3-Color SunburstDunlop Pays Tribute to Eric Clapton with Special Edition Cry Baby Wah
Eric Clapton Cry Baby Wah is a limited-edition pedal with GCB95 sound and gold-plated casting. Portion of proceeds donated to Crossroads Centre for addiction treatment. Available exclusively at Guitar Center.
In 1986, Mr. Clapton first started working with the late Jim Dunlop Sr., and he became one of our first and most important Cry Baby artists. We are honored that our company’s relationship with the legendary guitar player continues to this day. With this special limited edition Eric Clapton Cry Baby Wah, we’re paying tribute to Mr. Clapton’s 60-year legacy. Featuring the benchmark sound of the GCB95 Cry Baby Standard Wah, this pedal comes with a distinguished gold-plated casting befitting one of rock ’n’ roll’s living giants.
A portion of the proceeds from the sale of each Eric Clapton Cry Baby Wah will be donated to the Crossroads Centre, a not-for-profit organization founded by Mr. Clapton to provide safe and supportive addiction treatment and a road to recovery. If you wish to contribute a further donation, please visit crossroadsantigua.org.
The Eric Clapton Cry Baby Wah is available now at $299.99, exclusively from Guitar Center in the United States and from select retailers worldwide.
Eric Clapton Cry Baby Wah Highlights
- Pay tribute to one of rock 'n' roll's greatest legends
- Special limited edition• Benchmark sound of the GCB95
- Distinguished gold-plated casting
- Portion of proceeds donated to Crossroads Centre for supportive addiction treatment and recovery
PG's Nikos Arvanitis talks to the funk-guitar master about his musical influences, go-to gear choices, the pros of teaching, working in the studio versus the stage, and future plans for Jamiroquai.
As a youngster in the 1970s, Rob Harris was unusually fixated with music, spending hours watching bands on TV programmes. At the age of 7 and after much badgering from Rob, his father finally retrieved the guitar (an old Hofner) out of the loft space for him, and so began Rob’s lifelong musical journey.
After growing up in the Middle East from age 4 to 12, Rob and his family returned in to the UK in 1983 and he soon began studying with a great local guitar teacher named Colin Medlock. This was to continue for several years and was to shape a strong musical foundation in Rob’s guitar playing.
At the age of 14, Rob began gigging with local bands in the Cambridgeshire area and soon developed an interest in a variety of musical styles, listening to an eclectic range of artists and tirelessly researching and studying those who had played guitar on said records. This furthered the ongoing development of his musical skills, studying song craft, creating parts and hooks and writing lyrics. It was only natural to then take the step to working with producers and artists as a session guitarist.
The early 90’s was when Rob really began to flourish, recording and touring with The Pasadenas, Gary Numan, Mark Owen, Alphaville eventually joining the band Jamiroquai as a member in 1999 which continues to this day. Rob has played and co- written on the albums Funk Odyssey, Dynamite, Rock Dust Light Star and has most recently played on the band’s 2017 release Automaton and embarking on a global tour with the band in the April of the same year.
His credits also include: Beverly Knight, Kylie Minogue, Anastasia, Lighthouse Family, Don Airey (Deep Purple), Katy Perry, JP Cooper, Era, Gabriella Aplin, Will Young, Julian Perretta, Duke Dumont, Paloma Faith, Robbie Williams, Lego Batman (Soundtrack), Louisa Johnson and The Ministry of Sound’s Stripped Album, Kanye West, to name but a few.
Rob currently lives in Cambridgeshire where he records and teaches in between tour dates at his well-equipped studio. He also spends much of his time giving masterclasses and hosting educational workshops to music students and guitar enthusiasts, across the globe.
Ted’s parachute
If you want to escape from the pressures of modern life, go pick up your guitar. Now. You’ll be glad you did.
As I write this, we’re a few weeks away from the election, and I’m feeling as nervous as a cat in a dog park. No matter how you’re voting, there’s a good chance you feel the same way. These are complex times.
But we have a source of respite that many do not: We play guitar. Lately, I’ve made it a point to carve out an hour or so nightly to play through some of my band’s current repertoire to keep the dust off between shows and to explore some fresh sonic options to work into songs. The practice is paying off musically, but that’s not the biggest benefit. I’ve noticed, after I shut down my amps and pedalboard, and put my guitars back on their stands, that I feel better. About everything. For that hour or so, I am simply lost in the joys and mysteries of playing guitar. Things start to reveal themselves, new ideas tumble out of my fingers, and suddenly I’m in a place where anxiety can’t get to me and my mind is largely clear. It’s a safe zone where I’m not judging myself or others, and I’m relaxed and present. It’s a place where polling numbers and attack ads, family members with difficulties, and other concerns don’t even exist. And while it may be temporary, it is also beautiful.
I’m certain many of us have the same experience when we’re playing at home or onstage. And if you’re reading this while voices in your head are nattering with worry, I suggest you immediately go plug a guitar—the one that plays like melted butter—into your favorite amp and play a little melody, or your favorite set of chord changes, or even a nice campfire chord. I’d be surprised if you don’t soon feel the sensation of tension trickling out of your spine.
This is the great gift of guitar playing and music in general: Its ability to transport us to another place—that zone of safety and delight. Under the weight of the world, it is often possible to temporarily forget guitar playing’s curative power, or be distracted from it, and that is why I am reminding you.
"This is the great gift of guitar playing and music in general: Its ability to transport us to another place—that zone of safety and delight."
For me, and I’m sure this is not just my experience, music has always been a refuge—a special thing that makes my heart fill with peace, joy, and wonder. I recall watching Johnny Cash on TV as a child, listening to his spoken stories and the tales in his songs, and feeling like I was being swept through time and space, to places and eras full of exciting people and things. It stretched my imagination and worldview, and made it seem that life’s possibilities were endless. I still cherish that feeling, and listening to, for a couple examples, Tom Waits, Pink Floyd, Merle Haggard, Lucinda Williams, Son House, Kevin Gordon, Coltrane, and the Messthetics, still delivers it. And the next step, playing music and writing songs, makes me feel like an occupant of a small corner of their universe, and that’s a place I cherish.
I’ll mention safety again, and pardon me if this gets too personal. Many of us, after surviving the pandemic and the last decade of turmoil, do not feel safe. Having grown up in a household with a physically and verbally abusive father, where a blow could come at any time without reason or warning, that’s long been an issue for me. And when the news of the latest mass shooting, for example, is fresh in my brain, I tend to map out places to hide or flee when I’m at a concert or a mall or a large public gathering. Maybe that’s just my problem, but my gut—and what I hear from others—tells me it’s not.
Oddly, one of the places I can feel safest and happiest is onstage, whether performing solo or with my band, when everything is flowing and the music is in my veins. And that’s the magic of guitar and music again. It’s given me a place to be in the world that I love and that makes me feel complete. If you get that feeling from playing and listening to music, don’t let anything get in its way. Sometimes, in these times, that can be challenging, but the first step to your personal oasis is simple: just pick up that special guitar and plug in.