much too complicated for most students. teach it more simple :)
in any Major scale, play the 1st note and then play the neighboring note up 1 key. but play that neighboring note as a dominant 7 or altered chord. It will resolve nicely "chromatically" downward into the major 1 chord
...it's odd because once you do the substitution from G7 to a Db7 then the third of G (B) becomes a seventh..but it's no longer B it's now a Cb (since the minor 7th of Db is Cb..)..guh maybe i'm over complicating things since Cb and B sounds the same.
In my opinion you shouldn't be worried about the 3rd and 7th when figuring out the tri-tone sub of a dominant chord..the easiest way to know what the tri-tone substitution of a dominant chord is is by knowing the tri-tone interval of the root note of the dominant chord and there you go. I just think that trying to concentrate also with the 3rd and 7th just makes it more complicated to figure it out but that's just me. Nonetheless good video
With all due respect to the technical aspects - one can cut through the theory a bit and just try landing a half step higher than the target or destination chord and slide down to it. It works all over the place, especially in Bluesy or other stock progressions.
A little process of elimination and experimentation and you can find the instances where it DOESN'T work. Tons of half-step or chromaticism jazzes things up - just don't stay on the rare "avoid" note or chord for too long.
Not in every instance. In this case he's just moving a 5-1 progression, so that rule is very true... but when you start using passing chords (say 1-2-3, 2-5-1, 1-6-2-5) and you substitute Tri-Tone chords instead of the regular passing chords... lol you get some crazy ideas.
Just spend a day messing around and see what you get, not every time it'll be pretty, but not every time it'll be ugly... oh and WORD OF WARNING- don't just try it live first... lol disastrous results... haha
@Jeemo88 You're right, of course, but sometimes a little over-simplification can help the person who feels confronted with a too much complexity and is trying to get a grip. Agreed, though: mine WAS an over-simplification. Hey, I don't know if you're sort of old, like me, (enough to remember) but I liked the comment down the column a little ways about "The Addams Family Theme." I have to run out the door in a minute and can't test it, but in my foggy memory, it sounds about right.
@pyannaguy I see the point you make, but I think it's important to note that the tri-tone substitution is really most useful for ending chords, modulating, and climaxes during solo breaks or at the end of phrases. It's not a technique that you can just throw anywhere, like you mentioned.
@moredoughnuts01 True, and like I said: mine was an over-simplification to make the point, but I find that the half-step down-slide gets used more than tri-tones. Think of the classic jazzy sound of a Blues turnaround like I-VI-II-V and back to the 1 (all big Dominant chords) each being preceded by a big jazzy Dominant chord a half-step above. The only tri-tone is from the V back to the #1 (then the 1) but all those half-steps sound equally big and Jazzy.
These chords are called also nopolitan ex in the key of C the Db major chord. The only difference is that the Db is coming AFTER the V (Gmaj) and not before like in classic harmony did.zAlso we can add a major 7th tho that chord....
@Staaanky , watch the video again, this guy does not say that they are just slide chords. And even if he did, let's compare his explanation with yours: he actually sat at the piano and made a video and explained, while you just wrote 'they became so much more!'. It's like comparing a penny to 100 dollars.
@guitars2112 , that's just the bare theoretical explanation. It says nothing about the actual function of the chord in a progression, or why it resolves to the root a semitone lower
I agree with some of the comments criticizing the semantics of your video, however I still found it extremely helpful and very useful. I understoood it very well, and it helped to be able to visualize the concept. I feel very confident using this now.
I'd read about + listened out for tritone substitutions, and pretty much understood them, but only in a theoretical sense, i'd been trying to put it into context, and you've explained and applied tritone substitutions very well!
You're not actually substituting the chords here, you're adding them - Db would have to substitute for G, not follow G. Tritone substitutions are usually used in ii-V-I progressions, which then become ii-bII-I.
much too complicated for most students. teach it more simple :)
in any Major scale, play the 1st note and then play the neighboring note up 1 key. but play that neighboring note as a dominant 7 or altered chord. It will resolve nicely "chromatically" downward into the major 1 chord
tell the students to use it like a 5 chord :D
try it on this progression
7, 3, 6, 2, 5,1, 4, 6, 2, 5(use it here),1
DICACIO1 4 days ago
This has been flagged as spam show
Anyone want a good jazz E-book by Mark Levine? email me, i'll send it to ya asap :D
dicacio69... [ya-hoo]
DICACIO1 4 days ago
Comment removed
DICACIO1 4 days ago
Comment removed
DICACIO1 4 days ago
OMG its the infamous "devil's chord"... what are you teaching these people?! LOL :p
DICACIO1 4 days ago
...it's odd because once you do the substitution from G7 to a Db7 then the third of G (B) becomes a seventh..but it's no longer B it's now a Cb (since the minor 7th of Db is Cb..)..guh maybe i'm over complicating things since Cb and B sounds the same.
pll89 1 month ago
thank you sir!!...looks like you have had an awesome experience with jazz in ur life time...i wish to have the same!!...ill keep in touch!!!
goodguy4329 2 months ago
Did you say the circle of 4ths at 3:37? Or am I just going crazy?
iSkylla 4 months ago
@iSkylla Yes, he did. The "circle of 4ths" is the "circle of 5ths" only the other way around.
Voodomania 3 months ago
thanks for this video! You never stop learning! :)
58gpr 5 months ago
the sbstitution is the 5b, for example, C chord is Gb, D is Ab and so on...
jrmagrelis 6 months ago
In my opinion you shouldn't be worried about the 3rd and 7th when figuring out the tri-tone sub of a dominant chord..the easiest way to know what the tri-tone substitution of a dominant chord is is by knowing the tri-tone interval of the root note of the dominant chord and there you go. I just think that trying to concentrate also with the 3rd and 7th just makes it more complicated to figure it out but that's just me. Nonetheless good video
pll89 8 months ago
This has been flagged as spam show
Learn to play the piano in half the time with new gadget.
Google “Gizmag and PianoMaestro”
TheAssirampiano 10 months ago
Thanks for explaining this!!
saclark9781 1 year ago
Just Cool
wtcultra 1 year ago
With all due respect to the technical aspects - one can cut through the theory a bit and just try landing a half step higher than the target or destination chord and slide down to it. It works all over the place, especially in Bluesy or other stock progressions.
A little process of elimination and experimentation and you can find the instances where it DOESN'T work. Tons of half-step or chromaticism jazzes things up - just don't stay on the rare "avoid" note or chord for too long.
pyannaguy 1 year ago
@pyannaguy
Not in every instance. In this case he's just moving a 5-1 progression, so that rule is very true... but when you start using passing chords (say 1-2-3, 2-5-1, 1-6-2-5) and you substitute Tri-Tone chords instead of the regular passing chords... lol you get some crazy ideas.
Just spend a day messing around and see what you get, not every time it'll be pretty, but not every time it'll be ugly... oh and WORD OF WARNING- don't just try it live first... lol disastrous results... haha
Jeemo88 1 year ago
@Jeemo88 You're right, of course, but sometimes a little over-simplification can help the person who feels confronted with a too much complexity and is trying to get a grip. Agreed, though: mine WAS an over-simplification. Hey, I don't know if you're sort of old, like me, (enough to remember) but I liked the comment down the column a little ways about "The Addams Family Theme." I have to run out the door in a minute and can't test it, but in my foggy memory, it sounds about right.
pyannaguy 1 year ago
@pyannaguy I see the point you make, but I think it's important to note that the tri-tone substitution is really most useful for ending chords, modulating, and climaxes during solo breaks or at the end of phrases. It's not a technique that you can just throw anywhere, like you mentioned.
moredoughnuts01 1 year ago
@moredoughnuts01 True, and like I said: mine was an over-simplification to make the point, but I find that the half-step down-slide gets used more than tri-tones. Think of the classic jazzy sound of a Blues turnaround like I-VI-II-V and back to the 1 (all big Dominant chords) each being preceded by a big jazzy Dominant chord a half-step above. The only tri-tone is from the V back to the #1 (then the 1) but all those half-steps sound equally big and Jazzy.
Apples & oranges? Maybe.
pyannaguy 1 year ago
ugh why iz tritone so hard
DABEAST229 1 year ago
These chords are called also nopolitan ex in the key of C the Db major chord. The only difference is that the Db is coming AFTER the V (Gmaj) and not before like in classic harmony did.zAlso we can add a major 7th tho that chord....
draculauploader 1 year ago
this guy (duane shinn) makes quality instructional videos, there's some used ones on ebay
luigiperso 1 year ago
@Staaanky , watch the video again, this guy does not say that they are just slide chords. And even if he did, let's compare his explanation with yours: he actually sat at the piano and made a video and explained, while you just wrote 'they became so much more!'. It's like comparing a penny to 100 dollars.
luigiperso 1 year ago
wow really helpful.....i really like your tutorials
7P47 2 years ago
you've just solved my problem. I wish i could shake your hand- Thank you!
ABisopht 2 years ago 8
The simpsons theme uses tri-tone.
MrIdonotknowwhoIam 2 years ago
the tritone substitution just means 2 dominant seventh chords that share the same (enharmonic) tritone interval.
guitars2112 2 years ago 9
@guitars2112 , that's just the bare theoretical explanation. It says nothing about the actual function of the chord in a progression, or why it resolves to the root a semitone lower
luigiperso 1 year ago
Thank you for the video, I think it was great!
mdcorreia 2 years ago
i dont think of it as tri tone...i just go down six half steps...which is the same as 3 whole steps...i just find it easier
mangualc 2 years ago
I agree with some of the comments criticizing the semantics of your video, however I still found it extremely helpful and very useful. I understoood it very well, and it helped to be able to visualize the concept. I feel very confident using this now.
Mr0Smith0Guitarist 2 years ago
I'd read about + listened out for tritone substitutions, and pretty much understood them, but only in a theoretical sense, i'd been trying to put it into context, and you've explained and applied tritone substitutions very well!
timlalala 3 years ago
my dad calls tritones "adams family" music. a good way of thinking about it. lol
LordHines420 3 years ago
You're not actually substituting the chords here, you're adding them - Db would have to substitute for G, not follow G. Tritone substitutions are usually used in ii-V-I progressions, which then become ii-bII-I.
SymbolicCup 3 years ago
Great lesson,still alittle confused,,about the switch,
whiskey1099 3 years ago
Thanks. I only had to watch it 3 times lol
HunterHunter88 3 years ago
same here.. but thanks to him.. this would be useful xD
mahoutsukaitai 3 years ago