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Topic: Tritone Substitutions |
Stefan Robertson
From:
Hertfordshire, UK
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Greg Cutshaw
From:
Corry, PA, USA
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Stefan Robertson
From:
Hertfordshire, UK
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Posted 6 Feb 2016 7:47 pm |
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I must say that I don't get your pedal stuff cause I'm not a pedal player myself but yes I did get the description.
However isn't it down to chord quality and function. In other words I wouldn't swap a 2 that is a minor with a Major unless I was connecting I. Some weird way.
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Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
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Guy Cundell
From:
More idle ramblings from South Australia
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Posted 6 Feb 2016 9:08 pm
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I don’t want to be too pedantic but ‘tritone substitution’ usually refers to the substitution of one dominant chord for another that is an interval of a three tones (6 semitones) away. The dominant chords will have a major third and a seventh by definition but can have different qualities, ie extensions like 9ths or 13ths and alterations like #5 or b9.
The theory behind it is fairly straightforward. The defining characteristics of any dominant chord are a major 3rd and a minor seventh. (In a C dominant that is the E and the Bb.) It so happens that another dominant chord shares those two defining notes and that chord is a tritone away. In the case of C dominant that is Gb dominant. What happens is that the major 3rd of the first chord is the minor seventh of the substitution and the minor seventh is the major 3rd of the substitution.
C7 = CEGBb, Gb7 = GbBbDbFb (The Fb is enharmonically E)
The chord extensions and alterations are just colour to the chord while the major 3d and minor 7th are the active ingredients. So there are a myriad of tonal and voiceleading possibilities but only six basic substitutions. I think this is good news because you only need to know the six, C/Gb, Db/G, D/Ab, Eb/A, E/Bb, F/B and you can build in whatever tonal colours you want. |
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Stefan Robertson
From:
Hertfordshire, UK
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Posted 7 Feb 2016 12:42 am
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Agreed but I was talking about subbing a minor 2 with a Major not a Dominant as there are plenty.
_________________
Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
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Stefan Robertson
From:
Hertfordshire, UK
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Posted 7 Feb 2016 12:51 am
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Dominant subs are how it's mainly applied. Or a never ending stream of 2-5's
_________________
Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
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Guy Cundell
From:
More idle ramblings from South Australia
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Posted 7 Feb 2016 2:05 am
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Are the ii chords that you mention associated with a V chord? If so you are leaving the domain of tritones substitution for a different but allied area.
So, what is ii V a substitute for? Answer: V. That is Dm7 G7 can substitute for G7. The notes of Dm7 are the P5, m7, M9 and P11 or sus4 of G7. Historically it has been used to make a bar of G7 more interesting. So you can treat the two chords together as a V dominant. |
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Paul Seager
From:
Augsburg, Germany
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Mike Neer
From:
NJ
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Posted 7 Feb 2016 12:08 pm
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Tritone substitutions are usually used to introduce chromatic bass movement. So, if you are playing an A7 that is on it's way to D7, yes, Eb7 is a perfect substitute.
These are really great things to discover and I would encourage to keep using your ears to figure what is going on. If you like to listen to Wes Montgomery, his harmonic language is still rather easy to grasp, and it contains a lot of this type of movement and substitution.
I wanted to add that tritone subs are not only for V7 or dominant chords, but actually any quality of chord can be substituted as long as it works (meaning sounds good--and yes that is subjective). A few examples of tritone substitutions for a simple ii - V7 - I in the key of C:
Dm7 - G7 - C
Dm7 - Db7 - C
Ab7 - G7 - C
Abm7 - Db7 - C
et cetera.
In more modern music, they will easily substitute any chord quality for another.
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http://www.steelinstruction.com/
http://mikeneer.com |
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Stefan Robertson
From:
Hertfordshire, UK
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Posted 7 Feb 2016 3:13 pm
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Agreed I have been working on subs which then lead to an opening of the reharmonisation, extensions and partial chords.
Jazz and bebop is so colourful and deep. Love it.
_________________
Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
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Stefan Robertson
From:
Hertfordshire, UK
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Posted 10 Feb 2016 5:11 am
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| Paul Seager wrote: |
I have to confess that I do not understand this. If I am playing over an A7 chord, I can use the chord or notes of an Eb7 as a substitution?
\ paul |
Hey paul so if you are playing a 2-5 (Em7 - A7) Replace the A7 with an Eb7
That gives you a walking feel. This is a really basic example.
I have seen more complex ones were you treat the 5 as the next 2 then then it starts all over again.
so Dm7 -Db7 (Trisub) - is the 5 of Abm7
So then I can go to G7 (Trisub)
Or the never ending string of 2-5 is anywhere you find a 5 play a 2 before it. Essentially try and replace every 7 chord with a trisub. NOT ALL WILL WORK in the context and key of the song. Some will sound better than others also remember you can try inversions as well.
_________________
Stefan
Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F secrets: https://thelapsteelguitarist.wordpress.com
"Give it up for The Lap Steel Guitarist" |
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