Jazz theory: In progression II7-V7-I, can I make tritone substitute with different kind of Altered V7?

Like F7b9 to B7+5 ; F7alt to B7+11? I meant any kind of different altered dominant seven, not only some particular ones like F7alt to B7 , F7b9 to B7b9, etc

Tritone substitution relies on two factors - the 3rd and the 7th. Let's take C7>F. C7 = C E G Bb. The tts is F#7, = F# A# (Bb) C# E. The 3rd of C7 becomes the b7th of F#7, while the b7th of C7 takes the place of the 3rd of F#7. Simple substitution - hence the name. Other notes may or may not feature in each chord, but those two need to. So, as far as I know, 7b9 won't make a lot of difference to tts, as any other altered chord, as long as 3 and b7 become b7 and 3.

Bottom line as always is try it, if it sounds good in the context, then use it.

Short answer: you can make almost any alterations you want.

Let's say the progression is `| Cm | F7 | B♭∆ |`. Let's also say that we don't have to worry about whether the chord substitution will clash with the melody or will clash with another soloist. It's extremely common to alter the `F7`. For example, you could add a `♭13`, a `♭5`, a `♭9`, or a `♯9`. You can combine two of these together, and you can do things like play a `♭9` with a `♮13`, or play a `♮9` with a `♭13`. There are many possible ways to alter the 5, 9, and 13 of the `F7` chord.

Each of the altered `F7` chords will sound great with a `B` in the bass. When performing the tritone substitution, it's not necessary to think in terms of the `B7` chord at all--each alteration to the 5, 9, or 13 of `F7` will correspond to a note in the `B7` chord. For example:

```F7 chord B7 chord ♭9 → 5 ♯9 → 13 ♭13 → 9 ♭5 → 1```

And non-altered tones from the `F7` chord will become alterations of a `B7` chord.

```F7 chord B7 chord ♮9 → ♭13 ♮5 → ♭9 ♮13 → ♯9```

In addition to making alterations (or not making alterations) to the 5, 13, or 9, it's also possible to use a `♯11` chord. `F7(♯11)` implies a natural 9th and 13th, not an altered 9th or 13th. One common voicing for `F7(♯11)` involves using a `G` maj upper structure triad. For example, on piano, one could play the `A`-`E♭` with the left hand and `G`-`B`-`D` with the right hand. The natural 9th and 13th of `F7` will produce a `B7(♯9♭13)` chord when the base plays a `B` instead of an `F`. And equivalently, if you're thinking in terms of `B7`, playing `B7(♯11)`--played with a `C♯ maj` upper structure triad--would be the same as playing `F7(♯9♭13)` if the root were an `F` instead of a `B`.

Personally, when playing a tritone substitution, I usually think in terms of the original `F7` equivalent chord. This is mostly a personal preference. But whichever way you think about it, if your alterations sound good with a normal `F` in the bass, then it will also sound good over the tritone sub.

• I'm not sure what you mean by "F7(#11) will become B7(#9,b13)" and vice versa. The #9 of B7 is a 'D' which is the 13 of F. Maybe you mean B7(b9,b13), even though the 'C' (b9 of B7) would usually be avoided in an F7(#11). Commented Aug 23, 2017 at 21:32
• @MattL., the #11 chord implies a natural 9th and 13th as opposed to a altered 9th or 13th. An extremely common voicing uses a G maj upper structure triad. These upper structure notes (`G`-`B`-`D`) are the b13, 1, and #9 (respectively) of `B7`. Similarly, if one were to play `B7(#11)`, the C# maj upper structure triad would produce the b13, 1, and #9 of `F7`. I will edit to clarify. Also, I'll fix the auto-formatting guitar tab. Commented Aug 23, 2017 at 23:03