Hey Ken, to simplify Dm7 - G7 - Cmajor becomes Dm7-Db7-C using the tritone substitution and this gives you chromatic movement in the bass line. Thanks for you comments and have a wonderful day,. L
You probably know this stuff but as I get more subscribers I think it's important to go over it again. At the same time it helps me improve:) Best to you, hope all is well, L
@lloydenglishguitarstudio6331 Even when you do a lesson on something that I am familiar with you present it in a way where I am learning a new way of applying it so I am always grateful
Thanks for your kind comment, I hope this was of value to you, it's a powerful concept that can really make chord progression a lot more interesting. Best, L
Thanks so much, Lloyd. It sounds silly, but the tritone has always been fascinating to me, and I named my first band after it. In Joe Pass' chord book, he includes tritones in some of his augmented chords. Of course, its a wonderfully colourful sound, but I was wondering why he has it there? Is it because it's (in context) a mixolydian tritone rather than a lydian tritone? Or is it simply because augmented chords and tritones are both dominant sounds? The tritone on the 5th (C# to G) vs the tritone on the 1st (F# to C) is an interesting relationship...
Thanks for your question. Dominant chord sounds all have a tritone in them, making them dominant sounds. These include the 7th type sounds, the diminished and the augmented. The G7 for example has the tritone F - B or the b7 and the 3. The top 3 notes of the 7th make up a diminished chord, consecutive minor 3rds B-D-F if you add the Ab this becomes B-D-F-Ab or a 7b9, also consecutive minor 3rds with tritone. The augmented 7th triad G-B-D#-F, still a tritone, and the whole tone scale G-A-B-C#-D#-F-G still a tritone of B-F with an equal division of the octave in whole tones as opposed to equal division in minor 3rds like a diminished chord. Joe categorized everything according to sounds, if it had a tritone it was a dominant that wanted to resolve to a tonic sound. Hope this helps a bit. Thanks for your insights and comments. Best, L
Excellent explanation as always. In a minor cadence what do you call the natural chromaticism (6th)7 - (5th)7 - (1st)m For example C7-B7-Em It has same tritone sounds a bit more bluesy in minor. The last written line on the first page on the screen is what basically describes the typical movement above. Would you say that the tritone in lydian (4th degree) has a sub-dominant function thats used for both major and minor cadences.
Hey, thanks for the question. Let's start with the chromatic dominant you mention. If you don't mind we will move to C major because it may be simpler to explain. In the video lesson on the Tritone I focused on the same tritone being present in both the primary dominant of G7 as well as in inversion in the Db7. This logic creates chromatic movement from Dm7 - Db7 - the tonic of Cmaj. Your question is where is the logic in an Ab7 - G7 ex. Ab7-G7-Cmaj7 or for that matter Cminor. Let's go back to the Db7. Consider the Db triad, what would be the related V7 chord that would lead to Db if for example we were in the key of Db. That chord would be an Ab7. Now rather than resolve to the Db the tritone moves chromatically to the G7 and then resolves. The notes in Db are Db,Eb,F,Gb,Ab,Bb,C,Db - Ab7 - Ab - C - Eb - Gb. Of course we could go into greater depth but practically speaking a dominant chord can be approached from a semitone above. It all becomes about cycles. Hope that makes sense and helps. Have you covered secondary dominants and do you understand those? Answer this and I will move on to your second question concerning the Lydian augmented 4. Best and thanks, L
I really appreciate your reply and elaborate explanation Lloyd. I was looking at it from the relative minor perspective. My question was solely derived from the 2 sentences perfectly written at the bottom of the first page seen in the video which point to the direction of gravity that pulls each of the tritones that exist within the major scale; 7th degree Leads to the tonal center (1st chord) & 4th degree Falls to the 3rd (Mediant). I was exploring the “fall” in the latter and the extended cadence of that particular 4th movement where the mediant (minor) is flipped into major/dom to become (V) of 6th (relative harmonic minor). I understand that you were explaining the tritone within the primary dominant in a 2-5-1 progression and I jumped to a different type of harmonic movement (Im Sorry about that) I was just exploring the application of the tritone in the 4th degree. Which is not a tritone sub (the title of the video:). I do understand secondary dominants and its use to tonicize other chord degrees or prolong tension at any point during a chord progression. I like to call it using the Five(V) of “anything” prior playing the “anything” of course when it makes a musical sense. Doubling down on what you said “a dominant chord can be approached from a semitone above” of course this is heard in a myriad of jazz compositions and as a common comping technique. I just find it interesting that approaching a dominant chord from semitone above could be looked at as a naturally occurring movement in let’s say the harmonic minor scale (5th and 6th degree). I hear this chromatic movement in the bass line similar (or identical) to the one between the 4th and 3rd degree in the major scale. As one can look at the harmonic minor scale as a reharmonization of the major/natural minor scale. Every musician has an ability to explain origins of harmony from different points of views and from diverse historical and modern musical practices and examples. As for the application of this chromatic movement in the bass line (mentioned above), it becomes a matter of taste whether your using a (Maj triad - Maj triad - home) or (maj7#4 - Dom7 - home) or (Dom7 - Dom7 - home) or similar augmented alterations…etc for the purpose of supporting different musical contexts; moorish/classical/ethnic/blues/jazz…etc. Im sure your aware that there are thousands of musicians that explain the existence of harmonic minor scale as a “Fix to a Problem” proposed by western classical composers and that problem is the weak cadence in the natural minor scale. Ofcourse this explanation firmly exist today in formal music education and more by RUclips music teachers. I hope you understand my tiny point of view to some degree. Thank you so much for your videos and lessons. Best, @@lloydenglishguitarstudio6331
Very interesting.
Thank you Lloyd!
Hey Ken, to simplify Dm7 - G7 - Cmajor becomes Dm7-Db7-C using the tritone substitution and this gives you chromatic movement in the bass line. Thanks for you comments and have a wonderful day,. L
Awesome lesson Lloyd 👍🎸 you're a wonderful teacher my friend
You probably know this stuff but as I get more subscribers I think it's important to go over it again. At the same time it helps me improve:) Best to you, hope all is well, L
@lloydenglishguitarstudio6331 Even when you do a lesson on something that I am familiar with you present it in a way where I am learning a new way of applying it so I am always grateful
🙏 great lesson.
Thanks for your kind comment, I hope this was of value to you, it's a powerful concept that can really make chord progression a lot more interesting. Best, L
thanks i also care
Hey, thanks for the comment. Hope you found this of value, Best, L
Thanks so much, Lloyd. It sounds silly, but the tritone has always been fascinating to me, and I named my first band after it.
In Joe Pass' chord book, he includes tritones in some of his augmented chords. Of course, its a wonderfully colourful sound, but I was wondering why he has it there? Is it because it's (in context) a mixolydian tritone rather than a lydian tritone? Or is it simply because augmented chords and tritones are both dominant sounds?
The tritone on the 5th (C# to G) vs the tritone on the 1st (F# to C) is an interesting relationship...
Thanks for your question. Dominant chord sounds all have a tritone in them, making them dominant sounds. These include the 7th type sounds, the diminished and the augmented. The G7 for example has the tritone F - B or the b7 and the 3. The top 3 notes of the 7th make up a diminished chord, consecutive minor 3rds B-D-F if you add the Ab this becomes B-D-F-Ab or a 7b9, also consecutive minor 3rds with tritone. The augmented 7th triad G-B-D#-F, still a tritone, and the whole tone scale G-A-B-C#-D#-F-G still a tritone of B-F with an equal division of the octave in whole tones as opposed to equal division in minor 3rds like a diminished chord. Joe categorized everything according to sounds, if it had a tritone it was a dominant that wanted to resolve to a tonic sound. Hope this helps a bit. Thanks for your insights and comments. Best, L
Excellent explanation as always. In a minor cadence what do you call the natural chromaticism (6th)7 - (5th)7 - (1st)m For example C7-B7-Em
It has same tritone sounds a bit more bluesy in minor.
The last written line on the first page on the screen is what basically describes the typical movement above. Would you say that the tritone in lydian (4th degree) has a sub-dominant function thats used for both major and minor cadences.
Hey, thanks for the question. Let's start with the chromatic dominant you mention. If you don't mind we will move to C major because it may be simpler to explain. In the video lesson on the Tritone I focused on the same tritone being present in both the primary dominant of G7 as well as in inversion in the Db7. This logic creates chromatic movement from Dm7 - Db7 - the tonic of Cmaj. Your question is where is the logic in an Ab7 - G7 ex. Ab7-G7-Cmaj7 or for that matter Cminor. Let's go back to the Db7. Consider the Db triad, what would be the related V7 chord that would lead to Db if for example we were in the key of Db. That chord would be an Ab7. Now rather than resolve to the Db the tritone moves chromatically to the G7 and then resolves. The notes in Db are Db,Eb,F,Gb,Ab,Bb,C,Db - Ab7 - Ab - C - Eb - Gb. Of course we could go into greater depth but practically speaking a dominant chord can be approached from a semitone above. It all becomes about cycles. Hope that makes sense and helps. Have you covered secondary dominants and do you understand those? Answer this and I will move on to your second question concerning the Lydian augmented 4. Best and thanks, L
I really appreciate your reply and elaborate explanation Lloyd. I was looking at it from the relative minor perspective.
My question was solely derived from the 2 sentences perfectly written at the bottom of the first page seen in the video which point to the direction of gravity that pulls each of the tritones that exist within the major scale; 7th degree Leads to the tonal center (1st chord) & 4th degree Falls to the 3rd (Mediant). I was exploring the “fall” in the latter and the extended cadence of that particular 4th movement where the mediant (minor) is flipped into major/dom to become (V) of 6th (relative harmonic minor).
I understand that you were explaining the tritone within the primary dominant in a 2-5-1 progression and I jumped to a different type of harmonic movement (Im Sorry about that) I was just exploring the application of the tritone in the 4th degree. Which is not a tritone sub (the title of the video:).
I do understand secondary dominants and its use to tonicize other chord degrees or prolong tension at any point during a chord progression. I like to call it using the Five(V) of “anything” prior playing the “anything” of course when it makes a musical sense.
Doubling down on what you said “a dominant chord can be approached from a semitone above” of course this is heard in a myriad of jazz compositions and as a common comping technique. I just find it interesting that approaching a dominant chord from semitone above could be looked at as a naturally occurring movement in let’s say the harmonic minor scale (5th and 6th degree). I hear this chromatic movement in the bass line similar (or identical) to the one between the 4th and 3rd degree in the major scale. As one can look at the harmonic minor scale as a reharmonization of the major/natural minor scale. Every musician has an ability to explain origins of harmony from different points of views and from diverse historical and modern musical practices and examples.
As for the application of this chromatic movement in the bass line (mentioned above), it becomes a matter of taste whether your using a (Maj triad - Maj triad - home) or (maj7#4 - Dom7 - home) or (Dom7 - Dom7 - home) or similar augmented alterations…etc for the purpose of supporting different musical contexts; moorish/classical/ethnic/blues/jazz…etc.
Im sure your aware that there are thousands of musicians that explain the existence of harmonic minor scale as a “Fix to a Problem” proposed by western classical composers and that problem is the weak cadence in the natural minor scale. Ofcourse this explanation firmly exist today in formal music education and more by RUclips music teachers.
I hope you understand my tiny point of view to some degree. Thank you so much for your videos and lessons.
Best,
@@lloydenglishguitarstudio6331