Dominate Your Lydian Dominants | You'll Hear It 

hi, i'm sorry having to disappoint you, but it's totally obvious that the guys chose Db7#11 for demonstration as that's the tritone sub for the V chord in C MAJOR - they just forgot to mention ;-) best, andy

^ Actually, they mention several times that they were resolving to Gb as the 1, so sorry to disappoint you.

@@jazzyoutfit6670 no need to be condescending. Also, they say themselves in the video that they are in Gb

@@clintjones9848 what's your deal lol

:D

... or upwards to Bb/G which is Gm7 or Bb/C which is C7sus, and then e.g. Ab/C7 and then Gb/C7 which both are C7alt. best, andy

What do you call that when you look at minor subdominants? Someone I've studied with calls this "harmonic regions." For an example, in the key of C C Root region Cmaj7 Em7 Am7 Dominant G7 Bm7b5 Em Subdominant maj Fmaj7 Bbmaj7 Dm7 Subdominant min Fm7 Fm6 (Dm7b5 add 9, 11) FmM7 Bbsus Bb9 Abmaj7 Dbmaj7 Cm Root region Cm Ebmaj7 Gm7 Dominant G7 G7b13 Bm7b5 Relative maj Ebmaj7 Subdominant Abm7 Abm6 AbmM7 Fm7b5 add 9, 11 Dbsus Db7 Bmaj7 Emaj7 The dominant and subdominant are interchangeable and any of the dominant and subdominant paths can resolve to either Cmaj and Cm. I'm trying to make sense of all this, maybe you could help me.

@@loupgarou39 hi Brandon, thanks for asking me. maybe your question arose as i mentioned the 'minor subdominant'... if you were 'beaten round the head' with just that list without further detail on how to apply it, i'd hesitate to call that 'teaching'. maybe you were not - who am i to judge. i don't mean that concept is wrong or worthless, i think it's just too wide-ranging to be put in a nutshell like that. if you can't make sense of any part of that concept, why further bother about it. if there are parts that are grasped by you, stay with those. to get back to the 'minor subdominant' (in major keys!) - i think of it as of an extension of the regular (major) subdominant - or the 'subdominant region' as you called it. in the key of C, the 'plagal cadence' (amen cadence) would be F - C, or Fmaj7 - Cmaj7. you could extend the subdominant region by inserting the minor subdominant before resolving to the I chord: Fmaj7 - Fm6 - Cmaj7. you could then replace the IVm6 chord by bVII7 (which is in fact the same voice-leading with just another bass note) Fmaj7 - Bb7#11 - Cmaj7. also, you could replace the I chord by IIIm7 (an extension of the 'tonic region') Fmaj7 - Fm6 - Em7 or Fmaj7 - Bb7#11 - Em7. An example to use these possibilities is *All of Me*, bars 25-27. best, andy

@@jazzyoutfit6670 It's a concept that I keep discovering new things off. Sure it's challenging but it definitely broadens my concept of V-! or tension and release. I'm trying to find out if people call this something different or if there are different ways of looking at it. Ah! I see! The iv7 (and the bVII7) can replace V7 as a "back door" progression. Are you familiar with Barry Harris' Family of Dominants? It says that V7 chord can be replaced by dominant 7th chords that are a minor 3rd a part. For an example, in the key of C major the family of dominants would be G7, Bb7, Db7, E7. You can look at their related ii7 chords and find that they would ordinarily resolve to either the C or it's relative minor (Am) by being either a V7 or bII7 chord. Sorry for the long post. I'm excited to nerd out with someone about jazz theory during this quarantine.

@@loupgarou39 very welcome to nerding out ;-) as you mentioned barry harris - i love to listen to him playing, but i've to admit that i can hardly listen to his talks any more - all the moaning and groaning about everybody's ignorance and how the new kids on the block like miles, trane, herbie, wayne etc. did it all wrong tends to make me grumpy myself - sorry for that. best, andy

@@jazzyoutfit6670 I had no idea thought those cats were doing it wrong. I like some of his concepts but I got interested in his theory through Sheryl Bailey.

frenchef7 bill Evans

@@TheKlikko I love Bill Evans. Can you think of any particular example of him playing something similar?

Lydian dominant is a mixolydian scale with a #11. It's the fourth mode of a melodic minor scale, whereas mixolydian is the fifth mode of the major scale.

Jsw DCI Drums A night in Tunisia Eb7#11 Dm13 or Desafinado Hot House. ?🤔 in a Musical Context. Generally better Tritons Substitutes yes , better , V/V hmm? ==Excessive

Seventh mode of the melodic minor scale.

I'm gaining a lot of knowledge from your videos.