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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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
Just absolutely superb as always - Thank you so much! Between these RU-vid 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.
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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.
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!
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 ru-vid.com/show-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.
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..
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
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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!
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
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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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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.
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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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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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.
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?
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
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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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.
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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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.
We don’t really use the term Neapolitan 7th but I know what you mean. Neapolitan chords are not normally used with a 7th and normally present in first inversion.
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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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.
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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.
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.
I've been experimenting with tritones lately. In my own musical traditions, one of the most famous examples of a powerful use of tritone is from the song "Black Sabbath" by the band of the same name. In this song, they establish the key with a full measure of the tonic chord--G--played as a power chord (no 3rd) then another measure of the same at the next octave up, just to make sure the listener is firmly hearing the tonic. Then, it unleashes pure demonic evil by playing the tritone power chord, D flat/ C sharp, pulling the listener into full mortal despair. It has an effect and a sound, both of which have been thoroughly explored by every heavy rock group since. Without a tritone in some form, rock music doesn't have the hard rock edge. That is exactly the sound church music in the days of Pope Gregory didn't want. It made the congregation think of Satan. Flash forward to modern times, and this same tritone sound has made thousands of rock music fans think about Satan, evil, mortal terror, etc. But it's just a relationship among notes. Played as a passing note on the way to the fourth or fifth, the tritone note is just a bit bluesy. It can function more like a suspension of the fourth or fifth, and as always, the overall effect of the music depends on the expression of the musician. In my experiments, sometimes I can make a tritone note sound like a sweet longing of the melody to arrive at the diatonic fourth or fifth. I'm still somewhat of a beginner with music, but I am proud of what I've accomplished in my playing by coaxing a different flavor out of this "sour" note.
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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. 🤯
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 :)
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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It’s really a question of choosing the best enharmonic for the given situation. Sometimes it’s really obvious eg if we’re in G major we use F# and not Gb; sometimes it’s less obvious. Often it’s a matter of voice leading eg Db leading to C; C# leading to D.
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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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.
Sorry this is not a musical question . May I be impertinent and ask if your weight loss is voluntary due to dieting? You can ignore my question if you think I have been too personal, but I just have been concerned ……
I have to confess that I was mulling over this for a few days,and eventually plucked up the courage to ask,fully expecting to be told that I had overstepped my position . Thank you for allaying my anxiety .
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