In my music school which was Houston Community College, I learned in theory that chords where major minor, augmented or diminished, dominant, flat, sharp, whole tones, 3rd, 4th,5th, 6th,7th, Octave, 9th, 12th, etc, tri tones. Although I felt that tri-tones were redundant. So some of this is confusing. I’ve never heard of a German 6th.
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I love this guy, knows the high level theory, explains it in such a simple way, then later on makes reference to high level theory for those that know it but by that stage it doesn’t matter for those who don’t know it, love it so much
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Your approach makes perfect sense. I always thought of Tritone subs as a chromatic descend from the subdominant. That is why it works harmonically. The tritone sub is resolving naturally to the tonic, basically as a passing chord
Without a doubt the best channel for explaining music theory. I had zero musical knowledge a little over two years ago. In fact, I was highly allergic to anything related to music. The first videos I saw on Music Matters might as well been in Greek. But Gareth has such an infectious style of explaining that even I understood basic concepts. And I knew my limitations and said I was going to master triads before moving on to more advanced topics. That's change and I just starting looking at seventh chords. Since I had practiced some jazz exercises when I should have been practicing more basic concepts, I knew how to press the right keys, but had no understanding of why. I'm now starting to understand. I'm not going back to my stenographers notes, but listening to Gareth and practicing these to understand the logic. And it's working. I have Alex and Gareth to thank for what I've accomplished.
Brilliant way of explaining it. The easiest way for me to think of it as build a 7th chord a half step above the tonic of the key you’re cadence lands on
It really was a superb way of explaining it. Also, "Autumn Leaves" is basically a standard consisting of VI ii V I IV in major and ii V I in minor sequences, so it's a good song to play with tritone substitutions and secondary dominants..
Just absolutely superb as always - Thank you so much! Between these RUclips videos and the formal Music Matters courses, I have learned more over the past year and a half than I would have thought possible. You are such a gift to so many of us.
Love your content, Sir! About the "Devil in Music", I suggest you take a look at Adam Nely's video talking about that. He did a deep research on this subject and according to him, the tritone was not considered the Devil in Music by the Catholic Church, in fact it was considered just as a dissonance. Regardless of that discussion, I really enjoy all of your explanations. The content on this channel is fascinating!
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Agreed. In fact, I reckon it was Confucius who banned the tritone, hence the pentatonic scale. Somehow, an Idea caught on that the Catholic church banned it. But no, as we all know, dissonance abounds in medieval and Renaissance music of the Catholic church. Yes they identify the tritone as a difficult interval, but that's as far as it goes.
Outstanding! Or as they say 'over there ': brilliant! I'm gonna call you Chord I. Seems like always coming back to your channel to learn (really resolve confusion) on this concept and others. Your video leaves nothing to chance in fact you fully delivered onthe title of your vdo: ''tritones' and then 'substitutions.' Taking it step by step. Well done. Perhaps, best compliment I can offer is: after watching your vdo, I now understand how to construct a tritone substitution chord easily.
You've put together one of the best treatments of the tritone substitution that I have seen - this is wonderful material and many will learn from this.
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Some 40 years ago as a small child, I remember my piano teacher demonstrating the V7 chord from a particular piece of music that I could not for the life of me relate to (or just about anything from those classes, in all honesty). Probably exhasperated, she said, "just remember the V7 chord." I sort of remembered how the pitches related to each other and little more. Imagine my "shock" when I heard those notes again all the way across the internet here! Thanks for the lesson!
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Guitar is my primary instrument, so any theory video with a keyboard at the bottom intimidates me, but I followed this with ease! Wonderful explanation! I just subscribed.
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That’s great lesson! You confirmed my thought which happened many years ago when I was in a guitar festival. When someone show me a Tritone substituted chord to me, after hearing his demo, I said that’s nothing more than just a German sixth chord on the 2nd degree to me. He was trying to convince me that the concept of German sixth chord is from classical music whereas the tritone substitution is a Jazz concept. But I don’t think so, because I heard #4th to the 5th and the b6th to the 5th. However, the sad thing was…. he passed away long time ago too.
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and if you've got some time on your hands and want a challenge, you can write a string of secondary dominants to reach a final cadence. (ie: C7 - F7 - Bb7 - Eb7 - Ab7 - Db7 - Gb7 - B7 - E7 - A7 - D7 - G7 - C) ;-) Excellent video. I never stopped to consider how a dominant 7, a tritone substitution, a secondary dominant, AND a German 6 could all be the same chord. Thanks!
Excellent. This channel is my go-to for quick insights on music theory concepts. The explanations are always concise, include very lucid and clear examples, and easy to follow. Only a great teacher with very deep insight can pack so much in a short video like this.
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Great video and musical illustration! I would also add a theoretical note: Triton is exactly a half-octave interval, which gives us √2 frequency ratio, and this is one of the simplest and first-known irrational numbers (the finding is usually attributed to Hippasus who was also a creator of the theory of music). While all harmonic intervals are represented by rational numbers with small numerators and denominators (4/3 and 3/2 are even called perfect fourth and fifth), the Triton is “most apparently” irrational, and it gives the interval its special peculiarly disharmonious and troublesome feel.
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Watching your keyboard just gave me an aha moment about why IV minor substitution sounds so good too. The IV minor has that same inverted tritone interval F to B. And IV minor can be thought of as the Db7 with the root note Db dropped off. 🤯
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Nicely explained.I teach the same way . I would like to add that the German 6 th on b VI also resolves on Ic. It's interesting to note that the French 6 th is a dom7 b5 ( #4 ) chord and if thought of as a tritone substitute, it has the exact same notes.
This is a fantastic lesson, thanks for describing in a perfect way for even a bloody beginner like me to understand. One little mistake was, contrary to popular belief, the tritone was not called the devils interval in the middle ages. But that's history and doesn't make a difference in the music theory behind it in any way.
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How would one analyze a tritone substitution? I was thinking possibly a neopolitan with a flat 7 but I’m not sure that this entirely serves the same chord function as a Neapolitan chord? Great video, always love to learn new music theory concepts!
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Hi Gareth! I have a great admiration for your videos and I am immensely grateful to you for aiding me in my music theory learning journey. It's very hard to find reliable sources of music theory online now adays. 3:55 Regarding the tritone, it's a common misconception that it was deemed satanic in the past. The truth is that during the medieval and Renaissance periods, the tritone was avoided in vocal music (That's not always true. my favorite example of the tritone being used in medieval times is in Verdunt Omens) not because of any religious connotations, but because it was considered dissonant and difficult to sing due to the limitations of the tuning systems used at the time.
There is another way to think about this by asking the question: what are the most essential notes in the scale of a V7? Well it's the 1 and the 7th of course, but also the 3rd, so we can hear that it's a Dur and not a Moll scale. Every other note can be altered. So the 2 becomes b2 and #2, the 4 becomes #4 and the 5 #5 (b4 is the same as 3, b5 is the same as #4, b6 the same as #5 and #6 is the same as the b7 enharmonically). This is in fact the altered scale which is often used in Jazz. But if you look at this scale you may notice it's the same as the bII Myxolidian, except that it has a sharpened 4th which is usually written as #11. That's why the tritone substitution is usually written bII#11 in Jazz. So when you improvise over this chord don't use the standard bII Myxolidian scale but a sharp 11. So in the case of Db the scale shares the g with the G7 chord in addition to the tritone which makes the relationship even stronger.
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Tritone subs are also considered a basis for chromatic approach from above in walking basslines as you go around the circle of fifths, like in ragtime turnarounds I VI II V I
01:54 So _why_ does it work well anyway despite of not being from the key? What is that _function_ of a chord that you're talking about? Do you have any video about those functions of different chords? Are these functions somehow related to the _emotions_ that these chords convey per any chance?
There’s a pull towards the tonic and this adds a great colour just before the tonic because it’s using chromatic notes. Some composers of the past have made a link between certain chords and particular emotions but most try not to do that. Music has an emotional content that often can’t be reduced to words.
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Maestro: Thank you again this is how Music Theory should be taught. Please clear something for me, is a German 6th also an Augmented 6th Chord? Again, many thanks, R
I think the ‘devil in music’ was probably prohibited since Palestrina counterpoint rules because it’s just so hard to vocalize… (as well as the augmented second) … however, that also cultural. In Bulgarian ethnic music, we hear augmented and diminished intervals as well as microtones all over the place. My Bulgarian mother-in-law songs these amazing vocal acrobatics and I even hear children singing them too! I guess it al depends on what you grow up with! Love the video; you’re awesome!!
Very interesting. Context is a big factor. A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
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Db Mixolydian, G Mixolydian(avoid note: C), G/Db Dominant Diminished(H-W), Ab melodic minor and D melodic minor. The last four work well on both V7 and bII7. Edit: for clarification, based on tritone sub = Db7 :)
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I was right with you until 11:22 when you said “it” works in Cm as well. Do you mean Db7 resolving to Cm? Or Dbm7 to Cm? Completely on board with the major key example but struggling to understand what you mean by “it” as the 5 chord in a minor progression does not have a tritone within it? Or are you just sayiIng that in C minor you can replace the Bb7 with and E7 before resolving to the Eb (relative minor of Cm) ? Would love to understand thanks !
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I haven't learned about tritone subs in my theory class but I had one come up in a piece that I'm playing for my piano class. My piano teacher tried explaining it to me but it was not clicking! Thank you for this amazing explanation! You made it seem so simple. In class we're talking about borrowed harmonies... Is a tritone the same as bII?
Hi Gareth, thank you. Would you mind should I correct what you’ve said about tritone had been believed to be the musical sound of the devil? In fact, some medieval theorists wrote about the “diabolus in musica” because “diabolus” means “divider” a metaphor to the fact the the tritone divides, splits the octave in two, creating this strong dissonance; that’s why the Tritus Autenticus Mode was the last of the Octoechos modes to be enployed due the lack of a liable notation that could express the exact pitch of the B and the B flat, the fourth degree above the final degreee F. Many manuscripts of the XIIth century even avoid to write the B so the too strong dissonance would be replaced by a minor third from A to C (the Tenor degreee) But, the Chant books includes lots of pieces, mainly Alleluias, with a B flat and the B interchanging causing a beautiful effect, so it wiuldn’t be so should the Tritonus be the “sound of the devil”, even more by the fsct that it wad never meant to be understood this way, it was not a supertitious way of thinking, but wisdom and gusto.
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I love the way he alludes that all the fancy naming and theory just amounts to using a non-diatonic chord to add variety and colour. Do I even need to know any more?
@@MusicMattersGB yes, that's the point is it not? You can either make it hard for yourself, or you can think about it simply. It's like as you said with tritone, either you can look for augmented 4th or diminished 5th or just count three tones. Which is easier? 😀
You're one of the very few people that have pointed out the important bit which is the tritone within the V7 chord , they are important notes because they are the notes that drive the the V7 towards chord I ( ie Gm7 or G aren't as compelled to move towards C ).... What you missed , and this is mis understood not only all over the world but wrongly taught in many many music collages ) is that the bII7 is an example of tritone sub but not what it is ....a tritone sub is any chord with those all important driving notes substituted for the V7 chord so for example in C we could also use A9+ (with possible colouring notes too such as the #11 or 13th or both ) or Bb7 (b9), again with the option of colouring notes , or Fm7(b5) or Dm6 or a whole lot of other chord with F and B (or B and F if you invert their position in the chord ) ... Also remember the Db7 example can have all it's colouring note variations ie Db9, Db7 (b9), Db7 (b10) , Db7+ etc etc .... The advantages to these other tritone variations is you aren't limited to a nelody only harmonised by a bII7 chord (presuming you are reharmonizing a piece ) for example if the melody note was G thus an A9+ or an Eb9+ would work better than a Db7 ....will all these various substitutions sound great ? well like anything else it all depends on the previous chord , in reharmonization it also gives you options of using substitutions to what would effectively be a V7 chord going towards the V7 chord ie D7 to G7 to C and a regress going backwards , as you can imagine substitutions for both D7 and G7 may no longer look like a V7 to I but functionally would serve the same purpose
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thank you for your video. when i'm writing music i most often get inspired to write rhythms and melodies rather than chords. chords happen where the melodic lines collide together and i listen to hear if they are in harmony at these points. i've always wondered from my view at such an emphasis on chord structure. so much so that i think i am alone in my thinking. Is this method an alternative method of writing? I know this is off the point. Sorry.
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It does, as does any diminished chord. This is why it’s usually best to use diminished chords in first inversion so conceal the tritone within the chord.
Long before I learned about tritone substitution some years ago I loved playing ii7, bIImaj7, I, like the tritone substitution with a major seventh instead of the dominant seventh (or the one in the one chord). It works really well too, and sounds nice and "jazzy". Do you know a name for this progression? Anyways, after I learned the priciple behind the tritone substitution I couldn't stop playing with it. You get some really nice results if you try fitting it in everywhere! Shows that music therory relly matters.
You could insert b2.......b3.......b5........b6.......b7 as any type of chord. I use lyd #6, lyd #5, #6, Lyd #2, #6 or Ion #6 as GUIDES becuase Im familar with different scales and in a nutshell i wish not to argue with people. Those various MODES could be stacked into any type of chords... example Db to E is b3 ( or 3 semi tone) Im familar with full dim W/H or HW. You could also stack Maj, min, dominant every b3 intervals as well I might see the C Maj7 as a sort of inverted E min So it's easy for me to comprehend it/ see it. Im familar with the harmonic MAJOR C Maj7 into F min G7 into C Maj So to me..it's the same if I play Db Maj7 into Gb Maj7 or F# min Then the G7 becomes the tritone sub of Gb MAJOR or N6 of Gb min or like this A min Bb7 into Eb Maj7 C min F min E7 into A min A min Bb7 into Eb min Gb maj7 G7 into C Maj it just depends..Music theory helps me keep track faster. I could pretend I played C Maj into F min....( modulated to F min/Ab MAJOR) Then...Db Maj7 would simply be lydian ish to Ab MAJOR I also the Hungerian MAJOR..but I also know Db Hungerian MAJOR is F Harmonic min b5 Keys are just PITCH to me.. Im used to play A min Bb7 into Eb or......................A min G#7 into C# min/E maj7 In a nut shell......F min E7 into A min or A maj7/F#min or...for some reason I see Ab Major as a sort of key as REFERENCE just for a monent Ab Maj A7 into D min G7 into C Maj...lol I'll even do this..a simple F Maj7..barr at the 5th fret Then slide down 2 frets...Eb Maj7 Then...............................Db Maj7 Then...............................G7 into C Maj or even this...against the top 2 open high B , E Db aug ( C 4. 6 or inverted F Maj) B, 3, b7 Bb #4, 7 E7 into A min The notes are descending chromatically on the A string from Db to A min chord. It works becuase I resolved it eventaully it's just a game of tension and release....call and answer phrasing to me.
It seems that there may not be any real thing called a tritone substitution. The C and Gb moving to B and G is out of tune, it is a misspelling. The C and F# pulls outwards to the B and G. The only acceptable motion if full parallel motion c and Gb moving to B and F. The only way a tritone sub would work is if you wanted to create a fake out, where instead of resolving the tense interval, you just move it in parallel stepwise motion to another tritone/dim5th. Like in C major having (C, G, E, C) - (Ab, Gb, Eb, C) - (G, F, D, B) - (C, E, C, C). It seems it would normally also result in parallel fifths as well unless you employed some creativity to avoid it like a suspension or something. Where if the 3rd chord was spelled (Ab, F#, Eb, C) it could easily move diatonically to (G, G, F, B) before resolving to (C, G, E, C). The more I look at this the tritone sub is either a misspelled (and thus, out of tune) augmented 6th chord, or some kind of fake out that usually entails less than ideal voice leading.
So it is basically a Neapolitan chord with an added 7th, creating a dominant seventh chord. The name of this chord, however, "tritone substitution", seems confusing. I understand that there are two common tones between the dominant seventh and this one (F and B in the key of C); however, still the name seems dubious.
So basically you can use a dom7 chord on the flat second degree of any major or minor scale and it will resolve to the first degree ? That would be pretty genius. I've been looking for ways to harmonize phrygian mode in a way that it sounds likes a proper scale and not just a mode. This would actually be a solution.
@@MusicMattersGB Yes, sorry, Dom7 chord is not correct in this situation. Major b7 probably is. Thank you so much for making this video! It explained a lot to me very well that I didn't know about yet.
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In my music school which was Houston Community College, I learned in theory that chords where major minor, augmented or diminished, dominant, flat, sharp, whole tones, 3rd, 4th,5th, 6th,7th, Octave, 9th, 12th, etc, tri tones. Although I felt that tri-tones were redundant. So some of this is confusing. I’ve never heard of a German 6th.
@@FoodNerds well worth exploring the Augmented 6th chords. They’re used a great deal in music.
He says, "Let me see if I can break it down in a way that makes sense," and then proceeds to brilliantly explain the concept. Thank you once again!
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😎👨🏻Gareth does such a great job on his music theory videos, so I watch them anyway, even when I know exactly what he’s talking about..🥳. 👏Gareth..👍😉
That’s most kind
@@MusicMattersGB From
the heart, over here in the USA, Gareth.. Cheers! 🥳
“Let me see if I can make it a bit easier…”
“Doe, a deer, a female deer…”
I love this guy, knows the high level theory, explains it in such a simple way, then later on makes reference to high level theory for those that know it but by that stage it doesn’t matter for those who don’t know it, love it so much
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I can’t imagine a more concise and approachable explanation that this. Well done! This channel is for me the Go To for music theory.
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Your approach makes perfect sense. I always thought of Tritone subs as a chromatic descend from the subdominant. That is why it works harmonically. The tritone sub is resolving naturally to the tonic, basically as a passing chord
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Without a doubt the best channel for explaining music theory. I had zero musical knowledge a little over two years ago. In fact, I was highly allergic to anything related to music. The first videos I saw on Music Matters might as well been in Greek. But Gareth has such an infectious style of explaining that even I understood basic concepts. And I knew my limitations and said I was going to master triads before moving on to more advanced topics. That's change and I just starting looking at seventh chords. Since I had practiced some jazz exercises when I should have been practicing more basic concepts, I knew how to press the right keys, but had no understanding of why.
I'm now starting to understand. I'm not going back to my stenographers notes, but listening to Gareth and practicing these to understand the logic. And it's working.
I have Alex and Gareth to thank for what I've accomplished.
Well done to you for your dedication.
Brilliant way of explaining it. The easiest way for me to think of it as build a 7th chord a half step above the tonic of the key you’re cadence lands on
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It really was a superb way of explaining it.
Also, "Autumn Leaves" is basically a standard consisting of VI ii V I IV in major and ii V I in minor sequences, so it's a good song to play with tritone substitutions and secondary dominants..
Great example
Just absolutely superb as always - Thank you so much! Between these RUclips videos and the formal Music Matters courses, I have learned more over the past year and a half than I would have thought possible. You are such a gift to so many of us.
That’s most kind. Hearing reports such as this really inspires us to keep going with it all.
Love your content, Sir! About the "Devil in Music", I suggest you take a look at Adam Nely's video talking about that. He did a deep research on this subject and according to him, the tritone was not considered the Devil in Music by the Catholic Church, in fact it was considered just as a dissonance. Regardless of that discussion, I really enjoy all of your explanations. The content on this channel is fascinating!
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Agreed. In fact, I reckon it was Confucius who banned the tritone, hence the pentatonic scale. Somehow, an Idea caught on that the Catholic church banned it. But no, as we all know, dissonance abounds in medieval and Renaissance music of the Catholic church. Yes they identify the tritone as a difficult interval, but that's as far as it goes.
@@materdeimusicd.buckley2974 😀
Outstanding! Or as they say 'over there ': brilliant! I'm gonna call you Chord I. Seems like always coming back to your channel to learn (really resolve confusion) on this concept and others. Your video leaves nothing to chance in fact you fully delivered onthe title of your vdo: ''tritones' and then 'substitutions.' Taking it step by step. Well done. Perhaps, best compliment I can offer is: after watching your vdo, I now understand how to construct a tritone substitution chord easily.
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You've put together one of the best treatments of the tritone substitution that I have seen - this is wonderful material and many will learn from this.
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Some 40 years ago as a small child, I remember my piano teacher demonstrating the V7 chord from a particular piece of music that I could not for the life of me relate to (or just about anything from those classes, in all honesty). Probably exhasperated, she said, "just remember the V7 chord." I sort of remembered how the pitches related to each other and little more. Imagine my "shock" when I heard those notes again all the way across the internet here! Thanks for the lesson!
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Thank you! I felt like crying because I could not understand my homework, but this video made sense to me; so, I was able to do it. Thank you again!
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Guitar is my primary instrument, so any theory video with a keyboard at the bottom intimidates me, but I followed this with ease! Wonderful explanation! I just subscribed.
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Nicely explained - thankful to find your channel! Cheers from Seattle 🍻 Alex
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That’s great lesson! You confirmed my thought which happened many years ago when I was in a guitar festival. When someone show me a Tritone substituted chord to me, after hearing his demo, I said that’s nothing more than just a German sixth chord on the 2nd degree to me. He was trying to convince me that the concept of German sixth chord is from classical music whereas the tritone substitution is a Jazz concept.
But I don’t think so, because I heard #4th to the 5th and the b6th to the 5th. However, the sad thing was…. he passed away long time ago too.
There’s certainly a close link even if the terminology and sometimes the function varies between the various musical traditions
I don't see how you could do a better job at teaching! Loving every seconds of it!
That’s most kind
Best explanation of this concept on youtube!
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Love this channel - I have learned so much about theory...without trying very hard.
That’s great. Thanks
Enjoyed comparing and contrasting this Tritone Substitution video with your earlier instruction on the function of the Napoleon Sixth Chord.
It’s great to compare one chromatic chord with another.
Brilliantly explained, Gareth. Thank you so much.
A pleasure.
Clearest explanation I've seen here, thank you, Gareth.
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The directness and personable approach you take in explaining musical concepts has made me a convert to your channel. Thank you so much!😀
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Thanks!
A pleasure! Thank you very much for your generosity and support for the channel!
Thank you for the brilliant explanation, I understand it completely ❤
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of all the music channels, this one hits the spot for me, amazing explanations thank you!
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and if you've got some time on your hands and want a challenge, you can write a string of secondary dominants to reach a final cadence. (ie: C7 - F7 - Bb7 - Eb7 - Ab7 - Db7 - Gb7 - B7 - E7 - A7 - D7 - G7 - C) ;-) Excellent video. I never stopped to consider how a dominant 7, a tritone substitution, a secondary dominant, AND a German 6 could all be the same chord. Thanks!
Great chord scheme and yes, it’s fascinating to consider how these chords relate to each other.
Excellent. This channel is my go-to for quick insights on music theory concepts. The explanations are always concise, include very lucid and clear examples, and easy to follow. Only a great teacher with very deep insight can pack so much in a short video like this.
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Thank you for this video sir! You taught me more information on this! I love learning about how music works! God bless you!
A pleasure. Blessings to you too
Great video and musical illustration! I would also add a theoretical note: Triton is exactly a half-octave interval, which gives us √2 frequency ratio, and this is one of the simplest and first-known irrational numbers (the finding is usually attributed to Hippasus who was also a creator of the theory of music). While all harmonic intervals are represented by rational numbers with small numerators and denominators (4/3 and 3/2 are even called perfect fourth and fifth), the Triton is “most apparently” irrational, and it gives the interval its special peculiarly disharmonious and troublesome feel.
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Best channel on music theory!
That’s most kind.
Fascinating video - thanks so much. The tritone modulation video next!
Go for it!
Clearest explanation ever!
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Great lesson, very eloquently explained. Thanks!
A pleasure
I really enjoyed this video and learned a ton. Thank you!
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Been following since a long time. Excellent channel. Love from India 💗
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Beautiful share my friend! Fantastic video, wonderful music!
Like #645!
Have a wonderful day to you!
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Thank you for such a fantastically simple explanation sir 👍
A pleasure.
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This video really makes my life changing!!!
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Watching your keyboard just gave me an aha moment about why IV minor substitution sounds so good too. The IV minor has that same inverted tritone interval F to B. And IV minor can be thought of as the Db7 with the root note Db dropped off. 🤯
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So well explained!
Cheers!
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Thank you so much! This was so helpful! you're very good at teaching
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In my opinion, the tri-tone sub is a complicated explanation that is worth learning, because the tri-tone sub is so useful!
Certainly worth knowing about and hopefully logical rather than too complicated once one has the chance to grasp it.
Thank you for your generous and clear lessons.
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Great stuff and explanation, as always. Thanks! Would be great if you could show an example application of this technique.
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Look at jazz harmony
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GREAT LESSON, Thank You
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Thank You, Brilliant explanations!
A pleasure
Sir would you please talk about chords substitution techniques beginner to advance
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Nicely explained.I teach the same way . I would like to add that the German 6 th on b VI also resolves on Ic. It's interesting to note that the French 6 th is a dom7 b5 ( #4 ) chord and if thought of as a tritone substitute, it has the exact same notes.
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Can you please write out the progressions on the white board next time? Great content! Thank you!
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This is a fantastic lesson, thanks for describing in a perfect way for even a bloody beginner like me to understand.
One little mistake was, contrary to popular belief, the tritone was not called the devils interval in the middle ages. But that's history and doesn't make a difference in the music theory behind it in any way.
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I think you're thinking of it not being banned by the church. It was referred to as the devil's interval though.
This channel is a phenomenal resource! Thanks a lot!…
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I wonder if and how it is related to the Neapolitan chord also build upon lowered second. I was kind of expecting you would mention it.
There’s a link but the Neapolitan doesn’t contain the 7th and is usually in first inversion so those are distinct differences.
Thank you very very veeeery much. 🍀
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How would one analyze a tritone substitution?
I was thinking possibly a neopolitan with a flat 7 but I’m not sure that this entirely serves the same chord function as a Neapolitan chord?
Great video, always love to learn new music theory concepts!
Some people label it bII7; others label it ‘ts’. There’s plenty of strong feeling out there about what it should be called!
Many thanks for such a wonderful lesson
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Excellent teacher, this guitar player subscribed!
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Hi Gareth! I have a great admiration for your videos and I am immensely grateful to you for aiding me in my music theory learning journey. It's very hard to find reliable sources of music theory online now adays. 3:55 Regarding the tritone, it's a common misconception that it was deemed satanic in the past. The truth is that during the medieval and Renaissance periods, the tritone was avoided in vocal music (That's not always true. my favorite example of the tritone being used in medieval times is in Verdunt Omens) not because of any religious connotations, but because it was considered dissonant and difficult to sing due to the limitations of the tuning systems used at the time.
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There is another way to think about this by asking the question: what are the most essential notes in the scale of a V7? Well it's the 1 and the 7th of course, but also the 3rd, so we can hear that it's a Dur and not a Moll scale. Every other note can be altered. So the 2 becomes b2 and #2, the 4 becomes #4 and the 5 #5 (b4 is the same as 3, b5 is the same as #4, b6 the same as #5 and #6 is the same as the b7 enharmonically). This is in fact the altered scale which is often used in Jazz. But if you look at this scale you may notice it's the same as the bII Myxolidian, except that it has a sharpened 4th which is usually written as #11. That's why the tritone substitution is usually written bII#11 in Jazz. So when you improvise over this chord don't use the standard bII Myxolidian scale but a sharp 11. So in the case of Db the scale shares the g with the G7 chord in addition to the tritone which makes the relationship even stronger.
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Thank you for the video! Where does the flat from the D flat come from though?
It’s a tritone below the dominant and is the flat 2 of the key. If you watch the video again with that in mind you’ll see how it all fits together.
@@MusicMattersGB aaaah i got it ! Thank you so much, i was so frustrated until I saw this video
very good explanation, thanks
A pleasure
Incontrast to the keyboqrd, in violin playing a diminished fifth is definitely different from a tritone / augmented fourth.
Yes
Best explanation ever! Thanks!👍🏼👍🏼👍🏼
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Awesome vid, Gareth. Thanks very much!
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Tritone subs are also considered a basis for chromatic approach from above in walking basslines as you go around the circle of fifths, like in ragtime turnarounds I VI II V I
Yes. That scheme works well.
@@MusicMattersGB Haha yeah, I love it.
That was extremely helpful.
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01:54 So _why_ does it work well anyway despite of not being from the key? What is that _function_ of a chord that you're talking about? Do you have any video about those functions of different chords? Are these functions somehow related to the _emotions_ that these chords convey per any chance?
There’s a pull towards the tonic and this adds a great colour just before the tonic because it’s using chromatic notes. Some composers of the past have made a link between certain chords and particular emotions but most try not to do that. Music has an emotional content that often can’t be reduced to words.
This channel’s amazing
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Maestro: Thank you again this is how Music Theory should be taught. Please clear something for me, is a German 6th also an Augmented 6th Chord? Again, many thanks, R
That’s most kind. The German 6th is one of the three Augmented 6th chords - Italian French German
I think the ‘devil in music’ was probably prohibited since Palestrina counterpoint rules because it’s just so hard to vocalize… (as well as the augmented second) … however, that also cultural. In Bulgarian ethnic music, we hear augmented and diminished intervals as well as microtones all over the place. My Bulgarian mother-in-law songs these amazing vocal acrobatics and I even hear children singing them too! I guess it al depends on what you grow up with! Love the video; you’re awesome!!
Very interesting. Context is a big factor. A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
This channel is AMAZING! Thanks for your generous teachings, maestro ✌🏾❤️🫂
That’s great. Much more at www.mmcourses.co.uk
Brilliant. What a master.
You’re most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
What scale would you use to make melodies while on the tritone substitute chord? Thanks!!!
Use notes that belong to the tritone substitution chord while it’s sounding and decorate around it with inessential/ non-chord notes/ tones.
Db Mixolydian, G Mixolydian(avoid note: C), G/Db Dominant Diminished(H-W), Ab melodic minor and D melodic minor. The last four work well on both V7 and bII7.
Edit: for clarification, based on tritone sub = Db7 :)
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great lesson!
Glad it’s helpful. Much more at www.mmcourses.co.uk
I appreciate it Gareth, thank you
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Hot topic! Thanks!
A pleasure.
I was right with you until 11:22 when you said “it” works in Cm as well. Do you mean Db7 resolving to Cm? Or Dbm7 to Cm? Completely on board with the major key example but struggling to understand what you mean by “it” as the 5 chord in a minor progression does not have a tritone within it? Or are you just sayiIng that in C minor you can replace the Bb7 with and E7 before resolving to the Eb (relative minor of Cm) ? Would love to understand thanks !
Use the Db7 in both.
@@MusicMattersGB thanks ! :)
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Hi sir! How to write a chord symbol for a major 7th first inversion….
eg a tonic major 7th in C major could be
I7b
I76
Cmaj7/E
I haven't learned about tritone subs in my theory class but I had one come up in a piece that I'm playing for my piano class. My piano teacher tried explaining it to me but it was not clicking! Thank you for this amazing explanation! You made it seem so simple. In class we're talking about borrowed harmonies... Is a tritone the same as bII?
A tritone substitution isn’t quite the same as bII but there are notes in common. Glad the video makes sense.
Should be bII7
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May be a little less clear than usual. Could you add several exercises with solutions in an additional video on the subject?
We could probably do that.
B diminhed7 plays similar role, since there is tritone between B and Cb. Resolves up to C so sounds sometimes even better than Db7
The tritone is between B and F but yes that progression works well.
Hi Gareth, thank you. Would you mind should I correct what you’ve said about tritone had been believed to be the musical sound of the devil? In fact, some medieval theorists wrote about the “diabolus in musica” because “diabolus” means “divider” a metaphor to the fact the the tritone divides, splits the octave in two, creating this strong dissonance; that’s why the Tritus Autenticus Mode was the last of the Octoechos modes to be enployed due the lack of a liable notation that could express the exact pitch of the B and the B flat, the fourth degree above the final degreee F. Many manuscripts of the XIIth century even avoid to write the B so the too strong dissonance would be replaced by a minor third from A to C (the Tenor degreee) But, the Chant books includes lots of pieces, mainly Alleluias, with a B flat and the B interchanging causing a beautiful effect, so it wiuldn’t be so should the Tritonus be the “sound of the devil”, even more by the fsct that it wad never meant to be understood this way, it was not a supertitious way of thinking, but wisdom and gusto.
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I need some advise at to how I can improve my aural skills. Like know the key of a song without touching the keyboard. Any tip will be appreciated
Have a look at the Aural Dictation course at www.mmcourses.co.uk
Great lesson!!!
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Hi, could you please explain what's espressivo, please
Italian for expressive
Thank you, yet again.
A pleasure
Great video!
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I love the way he alludes that all the fancy naming and theory just amounts to using a non-diatonic chord to add variety and colour. Do I even need to know any more?
Up to you!
@@MusicMattersGB yes, that's the point is it not? You can either make it hard for yourself, or you can think about it simply. It's like as you said with tritone, either you can look for augmented 4th or diminished 5th or just count three tones. Which is easier? 😀
You're one of the very few people that have pointed out the important bit which is the tritone within the V7 chord , they are important notes because they are the notes that drive the the V7 towards chord I ( ie Gm7 or G aren't as compelled to move towards C ).... What you missed , and this is mis understood not only all over the world but wrongly taught in many many music collages ) is that the bII7 is an example of tritone sub but not what it is ....a tritone sub is any chord with those all important driving notes substituted for the V7 chord so for example in C we could also use A9+ (with possible colouring notes too such as the #11 or 13th or both ) or Bb7 (b9), again with the option of colouring notes , or Fm7(b5) or Dm6 or a whole lot of other chord with F and B (or B and F if you invert their position in the chord ) ... Also remember the Db7 example can have all it's colouring note variations ie Db9, Db7 (b9), Db7 (b10) , Db7+ etc etc .... The advantages to these other tritone variations is you aren't limited to a nelody only harmonised by a bII7 chord (presuming you are reharmonizing a piece ) for example if the melody note was G thus an A9+ or an Eb9+ would work better than a Db7 ....will all these various substitutions sound great ? well like anything else it all depends on the previous chord , in reharmonization it also gives you options of using substitutions to what would effectively be a V7 chord going towards the V7 chord ie D7 to G7 to C and a regress going backwards , as you can imagine substitutions for both D7 and G7 may no longer look like a V7 to I but functionally would serve the same purpose
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Isn't the 7th of the D minor chord supposed to resolve downward?
It certainly does in a Dominant 7th. In other 7ths it’s rather freer
Excellent lesson!
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thank you for your video. when i'm writing music i most often get inspired to write rhythms and melodies rather than chords.
chords happen where the melodic lines collide together and i listen to hear if they are in harmony at these points. i've always wondered from my view at such an emphasis on chord structure. so much so that i think i am alone in my thinking.
Is this method an alternative method of writing? I know this is off the point. Sorry.
It’s a good point. One can start with a melody then harmonise it or vice versa. In reality I think one often does both simultaneously.
@@MusicMattersGB thank you. it was good of you to answer.
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Thank you so so so so much
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Doesn't the Bdim chord in the key of C contain a tritone?
It does, as does any diminished chord. This is why it’s usually best to use diminished chords in first inversion so conceal the tritone within the chord.
Long before I learned about tritone substitution some years ago I loved playing ii7, bIImaj7, I, like the tritone substitution with a major seventh instead of the dominant seventh (or the one in the one chord). It works really well too, and sounds nice and "jazzy". Do you know a name for this progression?
Anyways, after I learned the priciple behind the tritone substitution I couldn't stop playing with it. You get some really nice results if you try fitting it in everywhere! Shows that music therory relly matters.
Absolutely
You could insert b2.......b3.......b5........b6.......b7 as any type of chord.
I use lyd #6, lyd #5, #6, Lyd #2, #6 or Ion #6 as GUIDES becuase Im familar
with different scales and in a nutshell i wish not to argue with people.
Those various MODES could be stacked into any type of chords...
example Db to E is b3 ( or 3 semi tone)
Im familar with full dim W/H or HW.
You could also stack Maj, min, dominant every b3 intervals as well
I might see the C Maj7 as a sort of inverted E min
So it's easy for me to comprehend it/ see it.
Im familar with the harmonic MAJOR
C Maj7 into F min G7 into C Maj
So to me..it's the same if I play
Db Maj7 into Gb Maj7 or F# min
Then the G7 becomes the tritone sub of Gb MAJOR or N6 of Gb min
or like this
A min Bb7 into Eb Maj7 C min F min E7 into A min
A min Bb7 into Eb min Gb maj7 G7 into C Maj
it just depends..Music theory helps me keep track faster.
I could pretend I played
C Maj into F min....( modulated to F min/Ab MAJOR)
Then...Db Maj7 would simply be lydian ish to Ab MAJOR
I also the Hungerian MAJOR..but I also know Db Hungerian MAJOR
is F Harmonic min b5
Keys are just PITCH to me..
Im used to play A min Bb7 into Eb
or......................A min G#7 into C# min/E maj7
In a nut shell......F min E7 into A min or A maj7/F#min
or...for some reason I see Ab Major as a sort of key as REFERENCE
just for a monent
Ab Maj A7 into D min G7 into C Maj...lol
I'll even do this..a simple F Maj7..barr at the 5th fret
Then slide down 2 frets...Eb Maj7
Then...............................Db Maj7
Then...............................G7 into C Maj
or even this...against the top 2 open high B , E
Db aug
( C 4. 6 or inverted F Maj)
B, 3, b7
Bb #4, 7
E7 into A min
The notes are descending chromatically on the A string
from Db to A min chord.
It works becuase I resolved it eventaully
it's just a game of tension and release....call and answer phrasing to me.
It seems that there may not be any real thing called a tritone substitution. The C and Gb moving to B and G is out of tune, it is a misspelling. The C and F# pulls outwards to the B and G. The only acceptable motion if full parallel motion c and Gb moving to B and F.
The only way a tritone sub would work is if you wanted to create a fake out, where instead of resolving the tense interval, you just move it in parallel stepwise motion to another tritone/dim5th. Like in C major having (C, G, E, C) - (Ab, Gb, Eb, C) - (G, F, D, B) - (C, E, C, C). It seems it would normally also result in parallel fifths as well unless you employed some creativity to avoid it like a suspension or something. Where if the 3rd chord was spelled (Ab, F#, Eb, C) it could easily move diatonically to (G, G, F, B) before resolving to (C, G, E, C).
The more I look at this the tritone sub is either a misspelled (and thus, out of tune) augmented 6th chord, or some kind of fake out that usually entails less than ideal voice leading.
Interesting thoughts. It’s a frequently used device
Good one thisone!
Glad it’s helpful
So it is basically a Neapolitan chord with an added 7th, creating a dominant seventh chord. The name of this chord, however, "tritone substitution", seems confusing.
I understand that there are two common tones between the dominant seventh and this one (F and B in the key of C); however, still the name seems dubious.
There’s good reason for the name because of those two tones.
@@MusicMattersGB
Hmmm... ok. Perhaps.
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Try any tone till you find one that works?
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So basically you can use a dom7 chord on the flat second degree of any major or minor scale and it will resolve to the first degree ? That would be pretty genius. I've been looking for ways to harmonize phrygian mode in a way that it sounds likes a proper scale and not just a mode. This would actually be a solution.
It’s not really a dom7 when it’s on the flat second degree but otherwise, yes it’s a handy chord to use.
@@MusicMattersGB Yes, sorry, Dom7 chord is not correct in this situation. Major b7 probably is. Thank you so much for making this video! It explained a lot to me very well that I didn't know about yet.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.