You said something that finally clicked in my mind- 6 pairs of tri tones, servicing the 12 dominant chords. That’s 2 dominant chords per tri tone interval, interchangeable. That easy. I’ve been playing since’66, studied for 19 years including 3 years of jazz. My jazz teacher never called it a tri tone substitution, just a minor 2nd dominant above you target chord sliding down. I’ve been searching for the meaning and uses for 40 years, all the other videos and explanations led me to believe it was something so far above my head. Turns out I’ve been doing it all along. Thanks, I can sleep tonight!
Demystifying tritones. One area of jazz that always seemed to me to be shrouded in fog. Suddenly the fog has cleared and as the song says “I can see clearly now”. Thanks Shan. Brilliant lesson!
It’s like my phone heard me talking about this and the TH-cam/google algorithm went to work and alerted you to make this perfect video … I could’ve learned and applied this 25 years ago had it been explained like this…. Your videos have connected so many dots for over just a few weeks are has literally transformed my sound … Thank you !! My guy !!
You did it again!!!! ITS ABOUT The DESTINATION!!!! Omg! Buddy - I have watched Aime, marigold, even Hewitt and Jonny! No one made it simple. You are the most “effective and unique” maestro on the web. Oliver P. Is Unique - not (for me) effective. But what a soul that man has. Still playing with that 6/dim scale - that one needs lots of practice. You rock. I hope you spirits are lightening. So sorry about the loss.
Thanks, Shan - you sure give a lot in your TH-cams. I recently discovered your channel and I am enjoying your approach. For instance, I have been using tri-tone subs for years, but still found this interesting. You make the theory very practical (and interesting).
Db7 has a Cb as it's 7th, Db F Ab B is a German augmented sixth chord. B is the leading tone of C major, not Cb. Cb as a tendency tone wants to pull down to Bb. This could make Db7 resolve down to C7, but my question is, can you use a tritone sub AND avoid parallel fifths? Db7 to G7 to C makes more sense to me with the Cb note in Db7 rising a Pythagorean comma to B, then resolving a diatonic semitone up to C. The voice leading seems easier as well in avoiding parallel fifths. Db7 to C7 is a bluesy sound. Is there a way to resolve Db7 to C (triad), or should that always rather be considered and written, and tuned (if possible) as an augmented sixth chord? Or is the Db note moving down to C a sort of Phrygian type leading tone above the tonic lowering to C by a diatonic semitone, and the Cb moving up to C (a chromatic semitone) is merely incidental, as in the leading tone of the Db7 to C chord is the Db note leading down to C. The thing that has confused me so much about the tritone sub, is I sort of like the sound of the parallel fifths in them, BUT I do want to know if they can be avoided without omitting the fifth of the chord.
It seems you are trying to play Jazz with Classical rules. Just stick to the Jazz sound. Or just play Classical style. Pick one until you learn it completely. Then you can find a way to switch back and forth in certain tunes for special effects.
So the tritone chord is built b on the flat 5. People say 3 whole times away, ir an augmented 4th away...but sonecsay that's just the sane as flatted 5th
You said something that finally clicked in my mind- 6 pairs of tri tones, servicing the 12 dominant chords. That’s 2 dominant chords per tri tone interval, interchangeable. That easy. I’ve been playing since’66, studied for 19 years including 3 years of jazz. My jazz teacher never called it a tri tone substitution, just a minor 2nd dominant above you target chord sliding down. I’ve been searching for the meaning and uses for 40 years, all the other videos and explanations led me to believe it was something so far above my head. Turns out I’ve been doing it all along. Thanks, I can sleep tonight!
40 years is a long time to get an answer but I'm glad to have helped!
Demystifying tritones. One area of jazz that always seemed to me to be shrouded in fog. Suddenly the fog has cleared and as the song says “I can see clearly now”. Thanks Shan. Brilliant lesson!
I have ruminated several You Tube tutorials about this puzzling topic. Your explanation has been the clearest and easiest to follow. Kudos!
Wow, thanks!
It’s like my phone heard me talking about this and the TH-cam/google algorithm went to work and alerted you to make this perfect video … I could’ve learned and applied this 25 years ago had it been explained like this…. Your videos have connected so many dots for over just a few weeks are has literally transformed my sound … Thank you !!
My guy !!
4:15 well explained! Never thought about it like that! Makes it real easy!
Guitarist here - thank you for this, just at the right level and importantly had some real examples of applying it in practice.
Thank you so much for your kind comment. I wish you well with your playing.
What an epiphany I just had. Thank you so much!
You did it again!!!! ITS ABOUT The DESTINATION!!!! Omg!
Buddy - I have watched Aime, marigold, even Hewitt and Jonny! No one made it simple.
You are the most “effective and unique” maestro on the web. Oliver P. Is Unique - not (for me) effective. But what a soul that man has.
Still playing with that 6/dim scale - that one needs lots of practice.
You rock. I hope you spirits are lightening. So sorry about the loss.
brilliant teaching style. explanation made simple. thanks you.
.... and there was light , thank you Shan... Muchas gracias!
You're so welcome! Wishing you good jazz 🙂
This is fascinating! Great job!
Thank you. I'm so pleased it helped you.
Tritones demystified 👏🏽👏🏽👏🏽👏🏽👏🏽👏🏽👏🏽
Thanks, Shan - you sure give a lot in your TH-cams. I recently discovered your channel and I am enjoying your approach. For instance, I have been using tri-tone subs for years, but still found this interesting. You make the theory very practical (and interesting).
I'm really pleased to hear that you still got something out of it, despite your experience. Thanks a lot.
Nice to see you, Shan!! great explanation again.. Thank you very much 😄
My pleasure! Thank you very much and I'm pleased to hear from you. All the best, Shan
Great! Thank you!
Solid. Thanks
Just go a diminished fifth up from the root of the dominant chord, build a dominant7th and that’s your sub tritone
Could you also go up to the flat 2 from the tonic? Ie, C tonic up to Db?sorry, I texted too soon
Db7 has a Cb as it's 7th, Db F Ab B is a German augmented sixth chord. B is the leading tone of C major, not Cb. Cb as a tendency tone wants to pull down to Bb. This could make Db7 resolve down to C7, but my question is, can you use a tritone sub AND avoid parallel fifths?
Db7 to G7 to C makes more sense to me with the Cb note in Db7 rising a Pythagorean comma to B, then resolving a diatonic semitone up to C. The voice leading seems easier as well in avoiding parallel fifths.
Db7 to C7 is a bluesy sound. Is there a way to resolve Db7 to C (triad), or should that always rather be considered and written, and tuned (if possible) as an augmented sixth chord? Or is the Db note moving down to C a sort of Phrygian type leading tone above the tonic lowering to C by a diatonic semitone, and the Cb moving up to C (a chromatic semitone) is merely incidental, as in the leading tone of the Db7 to C chord is the Db note leading down to C.
The thing that has confused me so much about the tritone sub, is I sort of like the sound of the parallel fifths in them, BUT I do want to know if they can be avoided without omitting the fifth of the chord.
It seems you are trying to play Jazz with Classical rules. Just stick to the Jazz sound. Or just play Classical style. Pick one until you learn it completely. Then you can find a way to switch back and forth in certain tunes for special effects.
So the tritone chord is built b on the flat 5. People say 3 whole times away, ir an augmented 4th away...but sonecsay that's just the sane as flatted 5th
The half step above trick is way easier 😂🎉
I find the tri- tone very settling.
I love a good tritone :)
I don't know how to use it .
What is the rythm played at 8:30 ? I can't figure it out.
Hopefully you saw my post in the Jazz Skills community about that one Frederic.
@@JazzSkills Yes indeed, thank you Shan.
VI7 ? Is that representing V/V?
VI7 means six dominant (the dominant of II). I hope that helps. Shan
to mach bla bla bla