Also the 5 and b9 of a dominant chord form a tritone. This tritone and the tritone formed by the 3 and 7 together form a diminished 7th chord, which can be used to make 4 different 7b9 chords by simply adding different bass notes. You can the substitute these out for each other for even more interesting variations. For example, if we have the progression Dm7 - G7 - Cmaj7. Adding a flat ninth to the G7 gives us G7b9, with the notes G B D F Ab. If we take out the root note, we are left with B D F Ab, which is a diminished seventh chord. Now we can use this same diminished 7 chord with either Bb, E, Db, or G as a bass note and we will get 4 different 7b9 chords that share 2 separate tritones, meaning that any of these chords can resolve to any chord that any of the individual 7b9 chords can resolve to. In our example of Dm7 - G7 - Cmaj7, we can substitute G7 for either E7b9, Db7b9, or Bb7b9 and the chord will still resolve. Let's use Bb7b9. We can do Dm7 - Bb7b9 - Cmaj7. And then from there you can use the Bb's ii chord: Fm7 - Bb7b9 - Cmaj7. Or you can substitute a chord from another mode, for example: Dm7(b5) - Bb7b9 - Cmaj7. Etc etc. I found this out on my own and I think it's really cool.
Damn, this is a mighty fine comment. I'm gonna have to come back to this video later to refresh my memory and i hope i see this comment again because i LOVE the resolution of a dominant 7b9 and use them whenever i can.
Why those bass notes, i mean, when you have G B D F Ab and You take out the G and add Bb E or Db, what is the relationship of G and those other bass notes? I can't understand that part because i'm mexican, i speak spanish and the translator doesn't work good for theese comments, also i don't have too knowledge on music theory, anyway, thank you very much 🙏.
@@santiagobautista245 Think of a dominant 7 flat 9 chord. B7 flat 9, for example. Look at it as 2 seperate components, the root (B) + diminished 7th chord (C, D#/Eb, F#, A) a semi tone above the root. So if you wanted to change a chord progression up with a substitution, you could replace that B root note with D or F or Ab/G# beneath that diminished 7th chord (C, D#, F#, or A). The relation of the root note is just one semitone beneath one of those notes. So in theory, you could start with a good, but basic sounding F#m7b5, B7b9, Em7 And change it to F#m7b5, D7b9 or F7b9 or G#7b9, Em7 I hope that explained it well enough!
In case anyone cares: the progression at 4:12 sounds identical to a progression known in classical music as a German augmented sixth. However, it's written slightly differently (in this case, with an F# instead of a Gb), and is more common in minor keys. In classical music, it always resolves to the dominant chord, as here.
EDIT (May 2023): I've closed the Patreon page. I'm now working with a new model that is better aligned with my personal values and hopefully will help enable me to spend more of my time making useful stuff for everyone: Everything I make from now on will be freely offered. No more paywalled content. I'm trying to make this work with nothing but a tip jar and a dream: Ko-fi.com/MusicWithMyles If you find my content valuable, please consider donating. Even just a dollar is super helpful if a lot of people are pitching in. Also, feel free to ask me any music question along with your donation and I'll be sure to reply! And if you're broke, just sharing my stuff around helps a ton too :D And thank you so much for watching, everyone 💙🙏 -Myles P.S. If there are any particular types of content you'd like to see from me in the future, let me know in the comments!
Most don’t explain what a “tritone” is. Three “tones” or six “semitones” if you know the European system. I didn’t so I didn’t grasp the concept of “tritone” until much later. We call “semitones” and “tones” “half steps” and “whole steps” in the US but we still use “tritone” and no one had explained that for me clearly in 20 years of music making. For some of us it’s important to know the origins and reasons for names and the things they’re named for, I hope this helps anyone that thinks like me.
I like it much that your videos come straight to the point without any long intro talking. It helps me to be focused on the topic. Top! You've got a new subscriber. Thank you!
Very nice! Substitution and chromatic changes offer so much freedom! It's very usefull to analyse these things. For me it's helpfull to understand things I already do but without realizing the theory behind. The combination of theory and practice is opening next doors. Pure joy and of course a lot of work to do.
Literally been trying to figure this out for years. The key is the similar notes between the dom7 and the substitute dom7 and the fact the similar notes want to resolve to the 1 chord. Just a different flavour. THANK YOU.
WOW I love these videos! You explain the concepts so concisely! They were especially comprehensive for me because I was already familiar with the topics, but I wanna see more of these videos!!
Brilliant!! BEST theory educational channel by far. the music examples and audio mixing is brilliant and the graphics are reallly clear and simple. Thank you man. Thank you for your efforts i genuinely and PERSONALLY appreciate it lol. More please :)
this fills such a nice hole in the youtube music theory landscape content-wise, while distinguishing itself nicely in presentation. please keep it up! :)
I think you should be able to use youtubes subtitles via the autotranslate option, otherwise there are also live translation softwares on samsung devices and pc, you might want to look into some of those ^^
3:23 the cardigans - carnival the more you study music theory, the more you appreciate the music you already liked, but never knew exactly why it sounded so great
Composing music is so much more than just getting the right chords. Like I listen to some favorite music that incorporates 2-5-1 but doesn’t sound lame as just playing them as in the examples.
Honestly, most concise and well explained dominant/tritone substitution video ever. And I've watched like a ton and have always been left a bit puzzled. Thank you!
Legit the 'brackets and arrows' was like a Rosetta Stone moment for me... neurocomplexity is annoying and secondary dominants confounded me before this. Thank you! 🎉
One cool thing I saw in JazzDuets' Channel is that if you have dom.7 chords on a circle of fourths (C7 F7 Bb7 Eb7...) you have an underlying descending chromatic movement. Great work, keep it up.
Wouldn't be dominant 7th chords though would it? Since you have a chromatic movement the tonic isn't clear so there is no dominant 7th chords cause there is no stable tonic.
@@ruairilogan153What makes a chord a “Dominant 7th chord” has nothing to do with any other chord in the progression; it is simply the intervals in the chord of root-3-5-b7. So C-E-G-Bb is a Dominant 7th chord (even in a 3-chord Blues that just has 3 Dominant 7th chords).
Great video, finally someone explaining stuff like this both accurately and easy to understand. Being a music teacher, this is actually a video I can point students towards. Nice looking video as well, good editing!
The Mighty Tritone! Try playing a 3-chord Blues that uses 3 Dominant 7 chords; the 3 tritones in those chords will be located right next to each other ALL OVER THE FRETBOARD. (That’s because one of those 3 tritones will be the inversion of the other two tritones; so the I-IV-V chords’ tritones will be located right next to each other.) They can be used as an easyway to find the most “inside” notes in that Blues song. They will form 2 or 3 diagonal lines right across the fretboard. Investigate and experiment with this!
You just taught me how to think about substituting chords, and it was right in front of me with all the Subdominant, Dominant and Superdominant groups. Thanks! There's a LOT of noise on youtube but once in a while you get straightforward nuggets of gold like this one. Way better than Beato, no offense to his knowledge, taste or dedication, this is more understandable and works for me.
So essentially what you're saying is the tritone substitution is a Flattened ii dominant seventh chord, which is the secondary dominant of the V chord.
Awesome video! Super helpful and accessible for more advanced theory. One piece of feedback: it took me going back and figuring out what the color codes meant, which helped me follow the last chord progression!
It's funny that these tritone substitutions are already used by Haydn, Mozart and Beethoven. For example Ab7 G7 Cm is present in C minor Piano Sonata Hob XVI:20. After the reexposition it is used this way as I spelled. It is used as augmented 6 Chord if I'm not mistaken. But it's really about tritone substitutions. Since I'm a "classical" music student and study traditional German functional harmony (using Dieter La Motte label system instead of using scale degrees functions and labels which I find easier), this tritone substitutions are very clever ways to find dominant functions and resolve them into the tonic.
This is the best channel for music theory. If you disagree you are wrong, I don't even know what it is about. What is a chord? -Who cares, the video is too well produced to be missed out. But I don't like music.. Well, you do now.
Finally someone is doing this! I love what you do and how you do it! It‘s just great how easy to understand your explanations are and how well everything is built up in harmony with the presentation and the music samples. THANK YOU AND KEEP IT UP!
I have a song I wrote that seems to do something like this, only it's in mixolydian and the substitute dominant leads into the actual dominant of the original key for whatever reason, idk. The thing is, I'm not sure I can really call it a substitute "dominant" because it's using the tritone implied from the tonic chord (which omits the 7th in actuality, but is implied due to the mode). The chords are C major, F# major, G major, D# major E major G major (where E major is more of a passing chord, transitioning between the D# and G) and then resolving back to C major again. Mixolydian is weird because the tonic feels like a dominant, but it's technically not. Additionally, the V chord is normally minor, but can be made major (much like with your general minor keys) so as to give a greater pull towards I. So I'm just really confused as to how to make sense of that transition between D# major and G. I mean, it's literally the same notes transposed up a half step, so I guess that's a thing, but I'm not sure how I'd transcribe that D# major chord seeing as it's not a secondary dominant or anything like that.
This video was so so so so cool! I can't wait to sit down and apply this stuff on my own !! Very helpful thank you for the lesson, and making your knowledge of music accessible to the world for FREE !!
Really setting a high bar here! Very nice choice of visuals and pace.
AND THEN THERE'S YOU.... I LOVE YOU
Tantalizing Cru
That’s the jazz. I want that JAZZ! HOW CAN WE GET MORE JAZZ?
Adrian Cruz gimme that luscious jazz *slurp*
Just punch in more tritone subs and 2-5-1's
Adam Neely: "Okay, I guess we can do that."
That video started the whole music theory RUclips shit for me.
mayby more suspended chords?
OH SHIT A NEW VIDEO
Not really new any more, but still a good video :-D
heyy roodyy
2:59 "It's time to take it to the next level"
Me: Aight I think I'm ready
4:28
Me: WAIT
Ryan Chua disappointed this wasn’t a joke about a 6/9 chord
Dude, you have a gift. Your videos are didactically brilliant like nothing else I've seen on here.
Hey, you're one to talk about being brilliant. You said "didactically". Now I've got to go look that up! lol
Also the 5 and b9 of a dominant chord form a tritone. This tritone and the tritone formed by the 3 and 7 together form a diminished 7th chord, which can be used to make 4 different 7b9 chords by simply adding different bass notes. You can the substitute these out for each other for even more interesting variations. For example, if we have the progression Dm7 - G7 - Cmaj7. Adding a flat ninth to the G7 gives us G7b9, with the notes G B D F Ab. If we take out the root note, we are left with B D F Ab, which is a diminished seventh chord. Now we can use this same diminished 7 chord with either Bb, E, Db, or G as a bass note and we will get 4 different 7b9 chords that share 2 separate tritones, meaning that any of these chords can resolve to any chord that any of the individual 7b9 chords can resolve to. In our example of Dm7 - G7 - Cmaj7, we can substitute G7 for either E7b9, Db7b9, or Bb7b9 and the chord will still resolve. Let's use Bb7b9. We can do Dm7 - Bb7b9 - Cmaj7. And then from there you can use the Bb's ii chord: Fm7 - Bb7b9 - Cmaj7. Or you can substitute a chord from another mode, for example: Dm7(b5) - Bb7b9 - Cmaj7. Etc etc. I found this out on my own and I think it's really cool.
Damn, this is a mighty fine comment. I'm gonna have to come back to this video later to refresh my memory and i hope i see this comment again because i LOVE the resolution of a dominant 7b9 and use them whenever i can.
Why those bass notes, i mean, when you have G B D F Ab and You take out the G and add Bb E or Db, what is the relationship of G and those other bass notes? I can't understand that part because i'm mexican, i speak spanish and the translator doesn't work good for theese comments, also i don't have too knowledge on music theory, anyway, thank you very much 🙏.
@@santiagobautista245 Think of a dominant 7 flat 9 chord. B7 flat 9, for example. Look at it as 2 seperate components, the root (B) + diminished 7th chord (C, D#/Eb, F#, A) a semi tone above the root.
So if you wanted to change a chord progression up with a substitution, you could replace that B root note with D or F or Ab/G# beneath that diminished 7th chord (C, D#, F#, or A). The relation of the root note is just one semitone beneath one of those notes.
So in theory, you could start with a good, but basic sounding F#m7b5, B7b9, Em7
And change it to F#m7b5, D7b9 or F7b9 or G#7b9, Em7
I hope that explained it well enough!
@@ryanhass8716 Thank You so much man, i really understood, You have great ideas, keep going on!
Maybe 12 is the perfect number 🥹
In case anyone cares: the progression at 4:12 sounds identical to a progression known in classical music as a German augmented sixth. However, it's written slightly differently (in this case, with an F# instead of a Gb), and is more common in minor keys. In classical music, it always resolves to the dominant chord, as here.
Wouldn't the German 6th in C have a C natural though, instead of the Cb in the Ab minor chord above?
YES IVE BEEN WAITING FOR THIS FOR SO LONG
ME TOO OMG
Lucas Preti berklee harmony 1-4 is where he got this, you can find it online for free
this has genuinely got to be the most clear, concise, and engaging/entertaining theory video i've ever watched - you're incredible!!
Please don't stop posting, your videos are super helpful and the quality is just amazing. Keep it up!
Your animations are brilliant. Thanks for existing
EDIT (May 2023): I've closed the Patreon page. I'm now working with a new model that is better aligned with my personal values and hopefully will help enable me to spend more of my time making useful stuff for everyone:
Everything I make from now on will be freely offered. No more paywalled content. I'm trying to make this work with nothing but a tip jar and a dream: Ko-fi.com/MusicWithMyles
If you find my content valuable, please consider donating. Even just a dollar is super helpful if a lot of people are pitching in. Also, feel free to ask me any music question along with your donation and I'll be sure to reply! And if you're broke, just sharing my stuff around helps a ton too :D
And thank you so much for watching, everyone 💙🙏
-Myles
P.S. If there are any particular types of content you'd like to see from me in the future, let me know in the comments!
could you draw this for me?
Bro how am I just finding this channel? This channel is the most underrated channel on YT
That's the best I've ever heard anyone explain this concept.
This series is gonna go far if you keep at it
Most don’t explain what a “tritone” is. Three “tones” or six “semitones” if you know the European system. I didn’t so I didn’t grasp the concept of “tritone” until much later. We call “semitones” and “tones” “half steps” and “whole steps” in the US but we still use “tritone” and no one had explained that for me clearly in 20 years of music making. For some of us it’s important to know the origins and reasons for names and the things they’re named for, I hope this helps anyone that thinks like me.
Thank you this comment made the video make sense
My goodness, this is expertly explained. You did a marvelous job here! I'm gonna have to come back to this one.
I like it much that your videos come straight to the point without any long intro talking. It helps me to be focused on the topic. Top! You've got a new subscriber. Thank you!
keeping consistent rhythm between the examples while you explain is really creative and cool. makes it much more pleasant to follow
Awesome video! I love how the drums never stop the entire time
Very nice! Substitution and chromatic changes offer so much freedom! It's very usefull to analyse these things. For me it's helpfull to understand things I already do but without realizing the theory behind.
The combination of theory and practice is opening next doors.
Pure joy and of course a lot of work to do.
Literally been trying to figure this out for years. The key is the similar notes between the dom7 and the substitute dom7 and the fact the similar notes want to resolve to the 1 chord. Just a different flavour. THANK YOU.
excelente Maestro, muy buena pedagogía. gracias por compartir este video. un fuerte abrazo y mil bendiciones desde Venezuela.
WOW I love these videos! You explain the concepts so concisely! They were especially comprehensive for me because I was already familiar with the topics, but I wanna see more of these videos!!
Brilliant!! BEST theory educational channel by far. the music examples and audio mixing is brilliant and the graphics are reallly clear and simple. Thank you man. Thank you for your efforts i genuinely and PERSONALLY appreciate it lol. More please :)
That was probably the best, actually definitely the best demonstration of cadence I’ve ever seen in a tutorial. Thank you
Incredibly helpful ! Thank you so much for sharing !
This and the Modal Interchange video are amazing. Have you thought about doing a Theory Series? I like the way you approach these concepts!
"Theory Series" really has a ring to it.
Thank you for explaining this really clearly. Lovely visuals and humour.
Brilliant, insightful vid…you lit a lightbulb in my head…subs with real purpose and intention, not just as alternative chord
Sub…scribed!
this fills such a nice hole in the youtube music theory landscape content-wise, while distinguishing itself nicely in presentation. please keep it up! :)
英語全くわからない日本人ですが、映像だけでも言いたいことがなんとなくわかりました！ありがとうございます😭
I think you should be able to use youtubes subtitles via the autotranslate option, otherwise there are also live translation softwares on samsung devices and pc, you might want to look into some of those ^^
Wow this is probably the best explanation I've ever seen of the rationale behind tritone substitution! Well done!!
Thank you so much! Pls do a video on improvisation someday!
3:23
the cardigans - carnival
the more you study music theory, the more you appreciate the music you already liked, but never knew exactly why it sounded so great
I felt like we were a part of a scene change in an 80s sit-com.
Dotted lines are used to indicate movement from a dominant chord to any type of chord, not just Major ones.
You won’t find a better explanation than this anywhere.
God bless you!!! I've been searching for this information for a week now and just found your video! Thanks!
Composing music is so much more than just getting the right chords. Like I listen to some favorite music that incorporates 2-5-1 but doesn’t sound lame as just playing them as in the examples.
Holy shit how am I just finding this? This is the best explanation of the topic in the world, and excellent fun production design. Great work!
Honestly, most concise and well explained dominant/tritone substitution video ever. And I've watched like a ton and have always been left a bit puzzled.
Thank you!
Great explanation. I've seen several videos on substitute dominants, this was the clearest
Been waiting for a video forever. Guess I'll wait longer for a Native Construct album.
Good to see you again Myles, always appreciate your video!
Please come back! Your videos are AWESOME
Wow this was the best exanation of this topic I've heard.
Legit the 'brackets and arrows' was like a Rosetta Stone moment for me... neurocomplexity is annoying and secondary dominants confounded me before this. Thank you! 🎉
Impressive!
Glad found this channel subscribed
Gonna have to watch this like 50 times. Jazz always flies over my head
Such a clear way of explaining this. Excellent!
Music is good. I'm learning english, this dificult some moments, but is cool.
This was edited so well! Love the way you kept the beat going
Man! Your content is amazing.
One cool thing I saw in JazzDuets' Channel is that if you have dom.7 chords on a circle of fourths (C7 F7 Bb7 Eb7...) you have an underlying descending chromatic movement.
Great work, keep it up.
Wouldn't be dominant 7th chords though would it? Since you have a chromatic movement the tonic isn't clear so there is no dominant 7th chords cause there is no stable tonic.
@@ruairilogan153What makes a chord a “Dominant 7th chord” has nothing to do with any other chord in the progression; it is simply the intervals in the chord of root-3-5-b7. So C-E-G-Bb is a Dominant 7th chord (even in a 3-chord Blues that just has 3 Dominant 7th chords).
@@m.vonhollen6673Forgot, I wrote this nonsense, had a good laugh reading it, though. Thanks for getting me the correct information. :)
Another great clear lesson. I have actually never thought of using the Abminor7 for a tritone sub for the Dm7. Neat.
Wow! I can hear clearly now my brain has gone. Turning the II-V into a semitone descent just explained my life. Genius.
Great video, finally someone explaining stuff like this both accurately and easy to understand. Being a music teacher, this is actually a video I can point students towards. Nice looking video as well, good editing!
Dude, absolutely killer video. Keep these coming.
The Mighty Tritone!
Try playing a 3-chord Blues that uses 3 Dominant 7 chords; the 3 tritones in those chords will be located right next to each other ALL OVER THE FRETBOARD. (That’s because one of those 3 tritones will be the inversion of the other two tritones; so the I-IV-V chords’ tritones will be located right next to each other.)
They can be used as an easyway to find the most “inside” notes in that Blues song. They will form 2 or 3 diagonal lines right across the fretboard. Investigate and experiment with this!
Thank you! So cool way to explain dominant substitution!
Great explantation of the tritone sub.
You just taught me how to think about substituting chords, and it was right in front of me with all the Subdominant, Dominant and Superdominant groups. Thanks! There's a LOT of noise on youtube but once in a while you get straightforward nuggets of gold like this one. Way better than Beato, no offense to his knowledge, taste or dedication, this is more understandable and works for me.
MY HEAD HURTS
These videos are so crazy well produced. Keep it up
Best explanation of why it’s called a tritone substitution I’ve seen yet. Great job.
This is the best music channel top 5 easily
Just amazing! Keep doing these pleaaaaaaaaase!!
Thank you so much, you just cleared up 1/2 a semester of college theory in 5minutes for me.
WOW! Very well explained! Thanx!
Excelent , and very easy way to learn.
So essentially what you're saying is the tritone substitution is a Flattened ii dominant seventh
chord, which is the secondary dominant of the V chord.
This is very helpful, thank you!
Clear, concise, well produced. Your videos are invaluable, please keep up the excellent work.
God bless you Myles
Awesome video! Super helpful and accessible for more advanced theory. One piece of feedback: it took me going back and figuring out what the color codes meant, which helped me follow the last chord progression!
It's funny that these tritone substitutions are already used by Haydn, Mozart and Beethoven. For example Ab7 G7 Cm is present in C minor Piano Sonata Hob XVI:20. After the reexposition it is used this way as I spelled. It is used as augmented 6 Chord if I'm not mistaken. But it's really about tritone substitutions. Since I'm a "classical" music student and study traditional German functional harmony (using Dieter La Motte label system instead of using scale degrees functions and labels which I find easier), this tritone substitutions are very clever ways to find dominant functions and resolve them into the tonic.
This format is so damn cool
HUGE THANK YOU!!! this video was great and saved me so much time, and helped me to understand so easily.
This is by far the most info I have ever learned in a couple of minutes 😮😮😮
Awesome explanation of complex theory!
Concise and to the point. Thank you
This is the best channel for music theory.
If you disagree you are wrong, I don't even know what it is about.
What is a chord?
-Who cares, the video is too well produced to be missed out.
But I don't like music.. Well, you do now.
Finally someone is doing this! I love what you do and how you do it! It‘s just great how easy to understand your explanations are and how well everything is built up in harmony with the presentation and the music samples. THANK YOU AND KEEP IT UP!
I KNEW THE WAIT WOULD BE WORTH IT!!
why do I have to wait over a year to see one of your tutorials. These videos are amazing!!!
Wonderfully done video! Thank you for this video!
We need more like this, awesome dude!
This the chords progression what tyler the creator used ive wondered! Thank you!
So amazing idea to keep the rhythm going on the whole time. I am amazed. Great. :D
I heard your intro and I automatically subbed. Glad my friend sent this to me
fantastic lesson
Love the style of these videos! Awesome, stuff!
love how these videos are produced 🎉🎉🎉 awesome awesome
Dem, I do enjoy this video. Not that I don't know this concept completely, but this was very educational! Thanks a lot!
Thank you so much dude!! You have no idea how much this helped me 🙏🏽
really, really well done video! thank you!!
I have a song I wrote that seems to do something like this, only it's in mixolydian and the substitute dominant leads into the actual dominant of the original key for whatever reason, idk. The thing is, I'm not sure I can really call it a substitute "dominant" because it's using the tritone implied from the tonic chord (which omits the 7th in actuality, but is implied due to the mode). The chords are C major, F# major, G major, D# major E major G major (where E major is more of a passing chord, transitioning between the D# and G) and then resolving back to C major again. Mixolydian is weird because the tonic feels like a dominant, but it's technically not. Additionally, the V chord is normally minor, but can be made major (much like with your general minor keys) so as to give a greater pull towards I. So I'm just really confused as to how to make sense of that transition between D# major and G. I mean, it's literally the same notes transposed up a half step, so I guess that's a thing, but I'm not sure how I'd transcribe that D# major chord seeing as it's not a secondary dominant or anything like that.
This video was so so so so cool! I can't wait to sit down and apply this stuff on my own !! Very helpful thank you for the lesson, and making your knowledge of music accessible to the world for FREE !!
This is awesome thank you!