Awesome! Rick I was just watching your whiteboard chord video last night, and as I was was watching Aimee's version just now I noticed you both used the - to notate minor. I had a feeling you guys were both Jazzers.
As a gospel-inspired musician, playing by ear is crucial. There’s no sheet music, no theory, you just play what you hear. When I first heard of the tritone, they just told me I had to learn it, and learn it well. No one could explain it; it’s just an important element in gospel music. Now that I know more theory, it makes sense to me why it works. Tritone subs can really change your sound. I’ve noticed more people are catching on to it these days.
My teacher just introduced me to tritones in my last lesson. I’m still trying to wrap my head around it and your video helped. Thanks. For players new to jazz it truly is magic
I found the explanation of the tritone substitution very clear. But what I enjoyed most was that Aimee so obviously just didn't want to stop talking about it. Very infectious enthusiasm! 🥰
When I discovered tritones back in my youth I was fascinated that there were two distinct bass notes that I could use. That ambiguity did make it sort of "magic". In your example with A-Train (and others after), what seems to make it really hip to me is the inherent chromaticism which makes it sound so "moderne" (and cool!) Thanks so much for the subject and the discussion. I sit at my laptop, trying to imagine that I'm sitting at a keyboard. Ah, but to have a piano again! Someday...
Although I have been playing guitar for many years I have never quite inculcated it into playing We hear a lot about it but its practicality is limited (when playing from a lead sheet at a dance or a fest) AND I must say that 9 out of 10 guitar students resist both reading and harmony topics. So the big hurdles are more basic. There are many instances where a band leader must explain (to seasoned musicians of a variety of instruments) the “road map” of a song (segno, D.S. Al segno, D.S. Al fine, 1st and 2nd ending .. even turn arounds) So I still do not use tritone (but nice presentation by the incredible Aimee!!!)
I really love the way you teach. You explain and give examples the way I need being a 3 yr student. Since the pandemic, I had to stop my private lessons, so now I'm left to try to figure out what I need to learn next. It's been a struggle at times making me feel a bit lost. So thank you for this. It really helps.
Wanted to add that e.g. in the ubiquitous ii-V7-I you substitute the dominant, then your bass is moving chromatically, which is nice for smooth voice leading. The stronger tension also gives sweeter resolution on tonic. The notion of upper structures changing sense with changed bass was something i have not thought of. Nice lesson.
i would also like to add, the vi can also be subbed then the bass moves back down chromatically going into ii. you can then have fun if you sub the vi for a b5b7 grip as that then becomes a 13th chord with the bass subbed as well. hope that made sense interestingly, on a physic note, the fundamental frequency going to the tri tone above of any note is the frequency multiplied by the square route of two.
I’ve always been rather crappy at music theory and discovering more glamourous chord strcutures. So, your video’s are helping a great deal here. Thanks.
Wow I don't even play jazz or listen to it unless its something I've heard mainstream, but I still found this video inspiring and so educational and the way you teach it has resulted in me wanting to know more, I couldn't stop watching, you have just won me over to the appreciation for jazz music. I think I understand now why so many love it especially from a musicians stand point, the nuts n bolts of it is very fascinating.
Groovy tritone passage written 295 years ago (by JSB - who else?), where E/G# passes to Bb/Ab. Eb minor prelude book 1 of the '48' measures 26 & 27; but don't stop there, play on for more mind-blowing harmonies.
Thanks for pointing this out, Aimee. The most "a-haaa" epiphany part for me was when you talked about the bass player: When you play the pipe organ, tritone substitution is pure gold to minimize footwork in the pedals with the benefit of that "vanilla" sound -- very cool and important for fast pedal sections! (Though, it might not matter that much when you use your left hand on the organ manuals or on a piano, were it could easily span an octave. But again: It greatly reduces stress of the feet.) Thanks for softly kicking me back to the organ bench even if it's 11:45pm now -- just need to check that one out! :-D
great lesson, even for guitarists. I think there is yet another name for the tritone: the blue note. btw there's a very interesting video by Adam Neely debunking the myth that the tritone was considered the devil's note.
I have a finger twister for you Ms Nolte. Play this 5 note voicing with the left hand alone centered around middle C: Pay a G half-diminished chord with an added C natural(Bb min9 G bass). The notes from bottom to top GBb CDbF. This rootless voicing (tritone G and Db) functions as an Eb 7 #11 or A alt using the Bb ascending melodic minor being enharmonic to both chord colors. In addition, moving the F to E natural implies classic movement to a C7b9 color or the corresponding tritone Gb. This chord then functions as a dominant chord for the 4 tones related in the full diminished chord ACEbGb. Play this voicing in descending half steps and then learn the inversions and I think this will really expand your ear.
You do such a nice job of explaining things, and you are so cute to watch while you do it. The close-up on the keys with the hands is a nice touch. Thanks.
Aimee, thank you so much for this. This was a beautiful breakdown of using tritones to really change the color of voicing. This is fantastic. It seems like the tritone substitution chords are used at transfer points before you go to a resolution.
I'm (really) late finding you but nice job! I like when you give "live brainstorming" explanations too. It helps the viewer follow your train of thought and understand the point you are making. I think this video has given me the rest of info I need to actually understand the concept tritone substitution . Of course the other side of understanding music theory is actually putting it into practice so thanks for the knowledge boost!
Wow! You're fast. That was a quick response to my recent suggestion/convo with you the other day; certainly a lot quicker than most IT Support centers LOL. But then I don't think that's a labor of love like Jazz. I think it is hard to resist or just difficult to talk about this subject without mentioning other possibilities. Books have often detailed chapters on their many uses, sometimes without using the term "tritone" (approaching chords from above or beneath, passing tones, etc.) But as usual, you kept it concise and engaging while managing to avoid the bunny trail. So Bravo :)
That said, maybe YOU should put together a book. Given your approach, call it, Nolte's Essential Guide to Jazz Piano, Always "Aimee," Never Aimless. :)
DStrongCrowe432 Strong You hit the nail on the head! Amiee's laid back attitude and and voice make her standout in a way,,,😍😍😍 I love you Amiee Nolte! what a Kool name as well!
I've watched all the videos from you. Many good techniques and ideas. But the best of is the one on Summertime. Why ? With this tutoriel we can play ( and sing yes !!!!! ) a tune endend up. When i listen some notes of The Masquerade or Ipanema with your personnal style, i think, more Aimee and further. Why not sometimes a finish tune. " Bonne journée et toute mon admiration pour votre savoir faire " E.
Éric Brunessaux I'm only teaching one concept here. I want to show how it works in several feels and settings. That's all. Maybe if you watch my "how to accompany yourself" series, you'll like that. Pretty sure I finished the tune there. Glad you liked Summertime. Oh yeah...I also did it on A Train. Whole song. It's because I was teaching a song and not a concept. Does that make sense? Thanks Eric.
I find in blues guitar a popular move is to also use a Tritone sub of the one chord on your way to the 4 chord… although it’s easier to just think of this as a sharp four chord passing to the four chord (not sure anyone thinks of this as a sub for the one)??
11:17 Chord progressions like that make me happy to live. Heck yeah it does. Chromatic bass note walk-down is a sweet bonus brb replaying it five more times
When the housefly went to the mat, within a minute of the first round, with Aimee doing a "Kung Fu Fighting" victory chant, I began to see this mode business in an entirely new light.
My comment is in reference, not to this particular video, but to Aimee's "Modes For Dummies" video, which is excellent; highly recommended. The "housefly intrusion," in that video, reminded/reminds me of a 2013 homemade video of myself, playing (classical guitar) Bach's Allegro in E-flat major; within the first 20 seconds of the video, my goldendoodle dog, Sampson, entered the video frame-view, circled, and laid himself at my feet. --Dan
Interesting video subject . To advanced for me ,that's is your development of the tune gets complicated I should pause this video a lot to follow what you are doing. I come back when I learn more
I just subscribed and yet I don't have a piano and can't play piano! Why do I like all things music so much? Even from instruments that I cannot play? Thanks for a great video!
I think the reason the Happy Birthday example sounded bad was the left hand voicing you used. If, instead of doubling the F# in the base, you played a seventh (the E) in the left hand, it sounds fine (to my ear). On another note, I think a tritone substitution works well in the first place the harmony goes to the dominant (under the lyrics, "you, happy birthday to") even though it's not part of a II-V-I progression. I just thought this was worth mentioning.
Coincidently, just discovered something recently about the tritone sub I'd like to share. First, awhile ago I stumbled on something I thought was cool. That you could modulate 1/2 step down by playing a dom7b5 chord. EG: C-E-Gb-Bb resolves to B-Eb-Gb-B. Then you lower the top not a whole step and the 5th a 1/2 step and and you can do it all day long. Cool? Anyway, I've been listening to a guy named Lanny Wolfe, who's a really good gospel writer/singer/pianist, do his tune Surely The Presence and it was driving me crazy. I mean he's a really good 'cocktail' artist and I'm trying like mad to copy his style. And he uses really cool colors (reharms and stuff) and I'm getting frustrated 'cause I can't figure out what he's doing even though I keep listening over and over. Finally I think I figured out one thing: He uses a tritone sub but in an unusual way. So let's say he starts with Dm7. You'd expect the next chord to be G7 or the tritone sub: Db7. And he kind of does that but with a cool wrinkle: Db7 in left hand and Eb-G, then D-F in right. Then finally resolves to CM7 with C-E in right. Feel free to correct me but this is what I think is going on: The C in the right is the 9 of Db, and the Eb is the #11. Which, even though the lower 5th is natural, serves as a flatted 5th. Which to my mind explains why it resolves so nicely to CM7, considering what I said at the top. Wondering what you think. And thanks for your amazingly cool videos which I've been soaking up like a dry sponge :-)
Check this video by Adam Neely regarding "The Devil In Music". It will clear up a lot of misconceptions about the tritone in the middle ages and later. Adam has definitely done his homework here: ruclips.net/video/eR5yzCH5CsM/видео.html
your lessons are great and very easy to handle ...this is the way harmony should be taught - not too much esoteric explanations ...by the way your voice is very sweet like vanilla as u said for the 9th :)
The Gb only makes it UNhappy birthday for a second. Like when your kid blows out the candles on the cake but one candle manages to stay lit...then a second later his sister blows out the last candle for him when you resolve to the major chord. Major resolve sounds like teamwork. :-)
Hi Aimee, love the video! Just wondering what the possibilities are if for example a med/large ensemble were to extemporaneously compose using say, one V7 chord and "All"of the available extensions and substitute chords and scales etc. Would this sound cacophonous or would there still be an indication of the original chord? Or would it sound like Atonal music? Cheers Garry
+garry brown i'm not sure how in large ensemble could compose a chord with all of the extensions extemporaneously. I guess I don't quite understand your question
It's an amazing and fortunate coincidence that Aimee Nolte Music just happens to have a host named Aimee Nolte, also.
Music Teacher Guy LOL somebody told me I should say that. It always feels a little silly when I do. :P maybe I'll stop!!
Can you do one where you say, "Welcome to Aimee Nolte Music, I am The Music Teacher Guy"? Pleeeeeeeeeeeeeease?
Music Teacher Guy you must be Matt. Lol check your email!
amazing
“Welcome to Aimee Nolte music, I’m Keith Jarrett”
Great video and topic Aimee!!
love your work too
Awesome! Rick I was just watching your whiteboard chord video last night, and as I was was watching Aimee's version just now I noticed you both used the - to notate minor. I had a feeling you guys were both Jazzers.
Oh man...the Great Rick Beato is here.
Thank you Aimee Nolte.
As a gospel-inspired musician, playing by ear is crucial. There’s no sheet music, no theory, you just play what you hear. When I first heard of the tritone, they just told me I had to learn it, and learn it well. No one could explain it; it’s just an important element in gospel music. Now that I know more theory, it makes sense to me why it works. Tritone subs can really change your sound. I’ve noticed more people are catching on to it these days.
My teacher just introduced me to tritones in my last lesson. I’m still trying to wrap my head around it and your video helped. Thanks. For players new to jazz it truly is magic
Wow, this is fine! I really love the various examples / applications of the tritone. Now, I admit, I need to watch this about 10 more times!
Madam, you are THE languid breeze of instruction. Thank you for the time you put into your lessons!
11:30 “Heck yes it does”. Loved it. Your passion for music and teaching is evident. Thanks for great examples.
You're like magician telling everyone how all the tricks are done! Thanks for making these grea videos!
I found the explanation of the tritone substitution very clear. But what I enjoyed most was that Aimee so obviously just didn't want to stop talking about it. Very infectious enthusiasm! 🥰
A bass player watching here.. Didnt know I has these powers 😉 very nice Video, I loved it.
You’re like Superman! 🙌🏼
When I discovered tritones back in my youth I was fascinated that there were two distinct bass notes that I could use. That ambiguity did make it sort of "magic".
In your example with A-Train (and others after), what seems to make it really hip to me is the inherent chromaticism which makes it sound so "moderne" (and cool!)
Thanks so much for the subject and the discussion. I sit at my laptop, trying to imagine that I'm sitting at a keyboard. Ah, but to have a piano again!
Someday...
The best explanation and illustration ever
Much thanks
Although I have been playing guitar for many years I have never quite inculcated it into playing We hear a lot about it but its practicality is limited (when playing from a lead sheet at a dance or a fest) AND I must say that 9 out of 10 guitar students resist both reading and harmony topics. So the big hurdles are more basic. There are many instances where a band leader must explain (to seasoned musicians of a variety of instruments) the “road map” of a song (segno, D.S. Al segno, D.S. Al fine, 1st and 2nd ending .. even turn arounds) So I still do not use tritone (but nice presentation by the incredible Aimee!!!)
DUDE! These videos are helping me break out of a serious plateau in my growth as a pianist. THANK YOU
your a-train is making me melt and generally listening to you seems like the smartest time invested on youtube, thank you
This video is a gem.
I like the way you explain topics, you always make it very clear.
This is the best explanation of tritone substitutions I’ve ever heard. I never got it before.
I really love the way you teach. You explain and give examples the way I need being a 3 yr student. Since the pandemic, I had to stop my private lessons, so now I'm left to try to figure out what I need to learn next. It's been a struggle at times making me feel a bit lost. So thank you for this. It really helps.
Wanted to add that e.g. in the ubiquitous ii-V7-I you substitute the dominant, then your bass is moving chromatically, which is nice for smooth voice leading. The stronger tension also gives sweeter resolution on tonic. The notion of upper structures changing sense with changed bass was something i have not thought of. Nice lesson.
wireless.mike thank you, Mike!
i would also like to add, the vi can also be subbed then the bass moves back down chromatically going into ii. you can then have fun if you sub the vi for a b5b7 grip as that then becomes a 13th chord with the bass subbed as well. hope that made sense
interestingly, on a physic note, the fundamental frequency going to the tri tone above of any note is the frequency multiplied by the square route of two.
Well after taking my community jazz course for 3 years, playing bass. I am now starting to better understand what you have been teaching. Thanks!
I’ve always been rather crappy at music theory and discovering more glamourous chord strcutures. So, your video’s are helping a great deal here. Thanks.
You are truly my favorite virtual teacher!!
It's called "playing" for a reason. You sure make it fun. Thank you.
Wow I don't even play jazz or listen to it unless its something I've heard mainstream, but I still found this video inspiring and so educational and the way you teach it has resulted in me wanting to know more, I couldn't stop watching, you have just won me over to the appreciation for jazz music. I think I understand now why so many love it especially from a musicians stand point, the nuts n bolts of it is very fascinating.
Seeing it this way really helped it come to light. Music is "magic"!!
Groovy tritone passage written 295 years ago (by JSB - who else?), where E/G# passes to Bb/Ab.
Eb minor prelude book 1 of the '48' measures 26 & 27; but don't stop there, play on for more mind-blowing harmonies.
Thanks for pointing this out, Aimee. The most "a-haaa" epiphany part for me was when you talked about the bass player:
When you play the pipe organ, tritone substitution is pure gold to minimize footwork in the pedals with the benefit of that "vanilla" sound -- very cool and important for fast pedal sections! (Though, it might not matter that much when you use your left hand on the organ manuals or on a piano, were it could easily span an octave. But again: It greatly reduces stress of the feet.)
Thanks for softly kicking me back to the organ bench even if it's 11:45pm now -- just need to check that one out! :-D
+WoodyofmC 🙌🏼😍🙏🏼
great lesson, even for guitarists. I think there is yet another name for the tritone: the blue note. btw there's a very interesting video by Adam Neely debunking the myth that the tritone was considered the devil's note.
Aimee I adore adore your videos. I'm feeling so much joy learning about music at this new level of nuance
thanks for the breakdown and thank you RUclips for the random recommend
Mike K yes! Thank you, RUclips! :-) Nice to meet you Mike.
I have a finger twister for you Ms Nolte. Play this 5 note voicing with the left hand alone centered around middle C: Pay a G half-diminished chord with an added C natural(Bb min9 G bass). The notes from bottom to top GBb CDbF. This rootless voicing (tritone G and Db) functions as an Eb 7 #11 or A alt using the Bb ascending melodic minor being enharmonic to both chord colors. In addition, moving the F to E natural implies classic movement to a C7b9 color or the corresponding tritone Gb. This chord then functions as a dominant chord for the 4 tones related in the full diminished chord ACEbGb. Play this voicing in descending half steps and then learn the inversions and I think this will really expand your ear.
+johnny vibes nice one, Johnny
I like your videos and have been practicing singing and playing piano at the same time which you do so well.
This is game changing.
Love the "This Masquerade" reference! (RIP Leon Russell.)
Thank you AN.
I've heard this explained so many ways, yet the examples here are so efficient at contextualising what it sounds like! awesome
+Ritchie Kordecki I’m so glad.
Is Amazing the texture that gives to the harmony.. Thank you so much!!
Beautifully explained. Thanks
"And that's where I'm going to leave it- I'm not going to talk about scales-"
Wait, no, talk about scales!
it all sounds great!!
You do such a nice job of explaining things, and you are so cute to watch while you do it. The close-up on the keys with the hands is a nice touch. Thanks.
Aimee, thank you so much for this. This was a beautiful breakdown of using tritones to really change the color of voicing. This is fantastic. It seems like the tritone substitution chords are used at transfer points before you go to a resolution.
You are an excellent teacher. I've been trying to understand tritons, now it's all clear. Thanks Aimee
She’s such a great teacher and pianist. Her voice is soo pretty and so is she. Wife goals
I just realized why alt. scale sounds so good on a sub.V
and I'm dealing with it for over than two decades now. :) THANKS AIMEE!
Just found your channel, thanks! I'll be listening in.
Craig Keller i'm so glad, Craig. 🙌🏼
Craig Keller i'm so glad, Craig. 🙌🏼
Very cool! I've just started checking out tritones, you're right, it's like a magic trick. Love it!
Love you Amy you are helping me develop my jazz trumpet thank you!!!!!!!!!
I'm (really) late finding you but nice job! I like when you give "live brainstorming" explanations too. It helps the viewer follow your train of thought and understand the point you are making. I think this video has given me the rest of info I need to actually understand the concept tritone substitution . Of course the other side of understanding music theory is actually putting it into practice so thanks for the knowledge boost!
Epiphany: It’s the BASS note Tritons change that makes the chords sound ilike a musical bass explosion during the chord progression.
Wow! You're fast. That was a quick response to my recent suggestion/convo with you the other day; certainly a lot quicker than most IT Support centers LOL. But then I don't think that's a labor of love like Jazz. I think it is hard to resist or just difficult to talk about this subject without mentioning other possibilities. Books have often detailed chapters on their many uses, sometimes without using the term "tritone" (approaching chords from above or beneath, passing tones, etc.) But as usual, you kept it concise and engaging while managing to avoid the bunny trail. So Bravo :)
Your videos are awesome! Thanks Aimee
That said, maybe YOU should put together a book. Given your approach, call it, Nolte's Essential Guide to Jazz Piano, Always "Aimee," Never Aimless. :)
DStrongCrowe432 Strong oh brother 🙄😏🙌🏼
Ok that was kinda bad. You select the title.
A book might be good, but the laid-back quality of Aimee's voice and attitude are a large part of these videos' appeal.
Dave White She does have a lot of enthusiasm and energy for this subject. I think both would be best.
DStrongCrowe432 Strong
You hit the nail on the head!
Amiee's laid back attitude and and voice make her standout in a way,,,😍😍😍
I love you Amiee Nolte!
what a Kool name as well!
Love every lesson this lady does!! Thank you.
Great video!
Thanks Aimee ! You've open my eyes ! Thanks !!
David Thornburg I'm so glad!!
You are so amazing amiee what you've done is fabulous, thank God for you
+Kendall Burgess 😍🙏🏼
I've watched all the videos from you.
Many good techniques and ideas. But the best of is the one on Summertime.
Why ? With this tutoriel we can play ( and sing yes !!!!! ) a tune endend up.
When i listen some notes of The Masquerade or Ipanema with your personnal style, i think, more Aimee and further. Why not sometimes a finish tune.
" Bonne journée et toute mon admiration pour votre savoir faire "
E.
Éric Brunessaux I'm only teaching one concept here. I want to show how it works in several feels and settings. That's all. Maybe if you watch my "how to accompany yourself" series, you'll like that. Pretty sure I finished the tune there. Glad you liked Summertime. Oh yeah...I also did it on A Train. Whole song. It's because I was teaching a song and not a concept. Does that make sense? Thanks Eric.
Éric Brunessaux oh yeah...and Dance Me To The End Of Love is a whole song that I taught too.
Just incredible that we have music teachers like Aimee, Beato, Adam Neely Charles Cornell and David Bennet piano avaliable 24/7.
i love how you explained these concepts, thank you for this, and all your other videos. please don't ever stop!
Aimee... there is magic in a tritone, yes. But more magic in your aura!
Apparently when Monk used to play Happy Birthday for friends and family it was anything but conventional. Would love to hear it!
I find in blues guitar a popular move is to also use a Tritone sub of the one chord on your way to the 4 chord… although it’s easier to just think of this as a sharp four chord passing to the four chord (not sure anyone thinks of this as a sub for the one)??
Great video I love the slow pace
Steven Tramontozzi thx!
I’m loving these lessons!
I’m so glad
As magic as your magical _blue eyes_. You gotta love those tritones.
Hey, she's married, so spread out, wise guy.
Music Teacher Guy
lol'ing.... I loved Moe
Proving dissonance can be beautiful..:-). Thanks Aimee
oh thank you so much !
your explanation is very clear and easy
i wish you were my teacher
I enjoyed the vid, Aimee! The verse of Bloodrock's DOA is all tritones!
11:17 Chord progressions like that make me happy to live. Heck yeah it does. Chromatic bass note walk-down is a sweet bonus
brb replaying it five more times
When the housefly went to the mat, within a minute of the first round, with Aimee doing a "Kung Fu Fighting" victory chant, I began to see this mode business in an entirely new light.
My comment is in reference, not to this particular video, but to Aimee's "Modes For Dummies" video, which is excellent; highly recommended. The "housefly intrusion," in that video, reminded/reminds me of a 2013 homemade video of myself, playing (classical guitar) Bach's Allegro in E-flat major; within the first 20 seconds of the video, my goldendoodle dog, Sampson, entered the video frame-view, circled, and laid himself at my feet. --Dan
"Diabous in musica" was the Latin saying. :-) Thanks for the great lesson as always!
I love how much power I have as a bass player
My favorite interval in music
Interesting video subject . To advanced for me ,that's is your development of the tune gets complicated I should pause this video a lot to follow what you are doing. I come back when I learn more
wow, it sounds so cool! Thank you for this lesson !
I just subscribed and yet I don't have a piano and can't play piano! Why do I like all things music so much? Even from instruments that I cannot play? Thanks for a great video!
Would love to hear the rest of that "Masquerade." you are awesome!
Very helpful - as a bass player especially
Thanks again.
D Brady Keyboardists need to learn to let the bassist play bass. Too many low-end pianists out there.
I think the reason the Happy Birthday example sounded bad was the left hand voicing you used. If, instead of doubling the F# in the base, you played a seventh (the E) in the left hand, it sounds fine (to my ear).
On another note, I think a tritone substitution works well in the first place the harmony goes to the dominant (under the lyrics, "you, happy birthday to") even though it's not part of a II-V-I progression. I just thought this was worth mentioning.
This is an awesome video. You explain things so well.
Coincidently, just discovered something recently about the tritone sub I'd like to share. First, awhile ago I stumbled on something I thought was cool. That you could modulate 1/2 step down by playing a dom7b5 chord. EG: C-E-Gb-Bb resolves to B-Eb-Gb-B. Then you lower the top not a whole step and the 5th a 1/2 step and and you can do it all day long. Cool?
Anyway, I've been listening to a guy named Lanny Wolfe, who's a really good gospel writer/singer/pianist, do his tune Surely The Presence and it was driving me crazy. I mean he's a really good 'cocktail' artist and I'm trying like mad to copy his style. And he uses really cool colors (reharms and stuff) and I'm getting frustrated 'cause I can't figure out what he's doing even though I keep listening over and over. Finally I think I figured out one thing: He uses a tritone sub but in an unusual way. So let's say he starts with Dm7. You'd expect the next chord to be G7 or the tritone sub: Db7. And he kind of does that but with a cool wrinkle: Db7 in left hand and Eb-G, then D-F in right. Then finally resolves to CM7 with C-E in right. Feel free to correct me but this is what I think is going on: The C in the right is the 9 of Db, and the Eb is the #11. Which, even though the lower 5th is natural, serves as a flatted 5th. Which to my mind explains why it resolves so nicely to CM7, considering what I said at the top. Wondering what you think.
And thanks for your amazingly cool videos which I've been soaking up like a dry sponge :-)
+Dave March very cool ideas. I like that first one, but keeping the Bb/A# common to both chords so that it ends on a Bma7!
Great! A kiss from Italy
Tino Carugati thank you!
Check this video by Adam Neely regarding "The Devil In Music". It will clear up a lot of misconceptions about the tritone in the middle ages and later. Adam has definitely done his homework here: ruclips.net/video/eR5yzCH5CsM/видео.html
your lessons are great and very easy to handle ...this is the way harmony should be taught - not too much esoteric explanations ...by the way your voice is very sweet like vanilla as u said for the 9th :)
Sweet voice too.....great video as usual
Im quite beginner but i work iwork...every day...and i try to find easy lessons on Aimee N...Music...(hard to follow you!)
jeff wackenthal thanks Jeff! Hopefully the more you watch, the easier it will get!
this is amazing! really useful, thank you very much Aimee :)
thank you Julian!
great job aimee keep them coming.
you are a genius!
Pablo Fernando Alvarez no no no, just the messenger. :-) Thank you Pablo.
Great explanation, thanks! Please make a tutorial of the This Masqurade.
Oh, you’re the best! 🥲
Just realized the German 6th in classical theory is a tritone substitution for a secondary dominant of the V. Mind=blown.
Genius
Thanks Aimee for your great videos!
Do you ever use tritone substitutions for non-functioning dominant 7th chords as in the blues?
I prefer your new version of Happy Birthday. I think everyone should adopt it, and it’s probably copyright-free!
The Gb only makes it UNhappy birthday for a second. Like when your kid blows out the candles on the cake but one candle manages to stay lit...then a second later his sister blows out the last candle for him when you resolve to the major chord. Major resolve sounds like teamwork. :-)
Happy birthday TO you. On that substitution, I'd be curious to hear a higher note on the TO.
Hi Aimee, love the video! Just wondering what the possibilities are if for example a med/large ensemble were to extemporaneously compose using say, one V7 chord and "All"of the available extensions and substitute chords and scales etc.
Would this sound cacophonous or would there still be an indication of the original chord?
Or would it sound like Atonal music?
Cheers Garry
+garry brown i'm not sure how in large ensemble could compose a chord with all of the extensions extemporaneously. I guess I don't quite understand your question