Its a way to resolve to the BbM7, starting out with an F7 as the dominant and then, in the latter half of the bar, adding a Cb in the bass, forming the tritone sub. If you don't know what a tritone sub is, the main idea is that if the roots of two dominant chords form the interval of a tritone, then they will share the third and seventh chord tones. This creates an interesting substitute for a normal dominant, because you can preserve the voice leading motion of a regular cadence, while creating an alternative color in the bass.
@@brash_hownWell said...is it wrong, do you think, to consider the tritone sub move a variation on the old Neapolitan move??? It still achieves that b2 to 1 sound anyway
Kapustin bridges the gap of jazz and classical music more convincingly than anyone IMHO...Eat your heart out George!...its true!
Loove kapustin
YFAI
i love this piece soooo much
YFAI
Awesome stuff!
keep going great analysis
Sorry for the basic question but could you explain the F7alt tritone sub @0:37?
Its a way to resolve to the BbM7, starting out with an F7 as the dominant and then, in the latter half of the bar, adding a Cb in the bass, forming the tritone sub.
If you don't know what a tritone sub is, the main idea is that if the roots of two dominant chords form the interval of a tritone, then they will share the third and seventh chord tones. This creates an interesting substitute for a normal dominant, because you can preserve the voice leading motion of a regular cadence, while creating an alternative color in the bass.
@@brash_hownWell said...is it wrong, do you think, to consider the tritone sub move a variation on the old Neapolitan move??? It still achieves that b2 to 1 sound anyway
0:40 i think this is not minor…
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