tritone subs all day. Voice leading of that chord is perfect especially if you want to land on a the 1(home key) with a b5/maj7 -- having the 7th in the upper voice/melody --so sweet!
@@nicorentzsch9946 tritone substitutions are a staple in Jazz By substituting the dominant chord (V7 of I) for a chord a tritone (6 half-steps/simitones) away. It resoles to the I(i) chromatically. However, you have many options for the flavor of the tritone: as a dominant chord (major 3rd and minor 7th), you can resolve to a Major 7 by not changing the minor 7th of the Dominant (which is an enharmonic equivalent to the 7th of I (home) chord). Example Regular: ii-V7-Imaj7 --dm7-G7-Cmaj7 Tritone sub: ii7-biim7-I -- dm7-Gb7-Cmaj7 (you can also add a flat 5/+4 to this chord to make it even more jazzy) Spelling of chords: d minor=DFAC, bii is D-flat Dominant 7: DbFAbCb, Cmaj7 is CEGB (Cb=B -enharmonic equivalents) w/ b5 would be CEGb(or/F#)B. Easier to demonstrate on the keys/piano. But the first comment is suggesting how #4 or b5 resolves to the 1 (tonic) in first inversion -- but only if that is a substitute chord, otherwise 7th in the bass of ANY dominant always resolves a half step down to tonic in 1st inversion, a type of chord Bach and jazz folks love because of the beautiful tension it creates.
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Wow! Merci Jérémy, for uploading this.
"She's gone home, but I'm just not quite there yet" 😅 Love it!
Always the +4 to the first inversion of tonic ❤️❤️❤️ He always has a place
tritone subs all day. Voice leading of that chord is perfect especially if you want to land on a the 1(home key) with a b5/maj7 -- having the 7th in the upper voice/melody --so sweet!
@@esjel9804 could you elaborate?
@@nicorentzsch9946 tritone substitutions are a staple in Jazz
By substituting the dominant chord (V7 of I) for a chord a tritone (6 half-steps/simitones) away. It resoles to the I(i) chromatically. However, you have many options for the flavor of the tritone: as a dominant chord (major 3rd and minor 7th), you can resolve to a Major 7 by not changing the minor 7th of the Dominant (which is an enharmonic equivalent to the 7th of I (home) chord). Example Regular: ii-V7-Imaj7 --dm7-G7-Cmaj7
Tritone sub: ii7-biim7-I -- dm7-Gb7-Cmaj7 (you can also add a flat 5/+4 to this chord to make it even more jazzy)
Spelling of chords: d minor=DFAC, bii is D-flat Dominant 7: DbFAbCb, Cmaj7 is CEGB (Cb=B -enharmonic equivalents) w/ b5 would be CEGb(or/F#)B.
Easier to demonstrate on the keys/piano.
But the first comment is suggesting how #4 or b5 resolves to the 1 (tonic) in first inversion -- but only if that is a substitute chord, otherwise 7th in the bass of ANY dominant always resolves a half step down to tonic in 1st inversion, a type of chord Bach and jazz folks love because of the beautiful tension it creates.
@@esjel9804 AMEN !!! 😂😂😂
I had a stupid grin on my face this whole video 😂
@@davidmjacobson 😂
B and Aflat. related via de D diminished chord :D barry harris man :D
love the crocs.
It's a journey for sure! :) haha no pun intended!
I need myself a tori kelly tap
What a funny dude🎉😂
😆
Where was it filmed? Nice documentation!
@@maramazone it’s from a 2024 masterclass in mexico
@@jeremylive31500 nice one and thank you for sharing 👍🙏
@@maramazone you're welcome ;)
the people outside going by behind him don't know what their missing