The "Other" Tritone Substitution
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The augmented sixth chord built on VI was kind of the original tritone substitution. Although, it was traditionally spelled as if it were a V7/V.
For example, in Cminor, the chord would sound like an Ab7 but would be spelled as if it were a type of D7, with an F# acting as a leading tone and generally resolving up (whereas we'd normally expect a seventh to resolve down). Hence the "augmented sixth" interval to from the root Ab to F#, rather than calling it a 7th, Gb.
You can kind of think of it as D7b5b9/Ab, just with no root- Ab (b5), C (7), Eb (b9), F# (3).
Great video!
❤ Thank you! Oops Night and Day!
You're very welcome, Georgiana. Thanks for watching!
🎶 Oops, you did it again! 🎶 Another fantastic lesson - thanks so much.
Love, Loved this session. Tons of nuggets as always. Will watch this over and over again. One of my Fav subjects Reharm. Just beautiful
jens larsen calls it using minor subdominants in a major key. the iv, iim7b5, bVI6, and backdoor dom all share some notes. specifically, they all resolve a b6 going to P5 on the I chord
This is how I learned it too.
Your unedited video is cool. Jazz is about being in the moment after all and going with what happens! The famous story of when Herbie played the "wrong" chord and thought "oops" but the next thing Miles played made it "right".
I’ve heard Barry Harris talk about this type of substitution a lot, whether it be over the minor 2-5 chains at the end of Stella by Starlight, or with replacing the 2 half diminished with the flat 6 major in the first chord of Night and Day. I’ve always loved that sound.
I endorse anything Barry says. He was a genius-RIP
Yep. Barry’s a legend!
Thanks for the time you take to explain about the tritone. For me as a saxophone player it gives me practice in reharmonisation in chords.
Interesting. As one commenter mentioned, a Neapolitan to the V7 makes a lot of sense and it's a beautiful sound. There's yet another tritone substitution that I haven't seen anyone talk about and that's the backdoor tritone substitution. For example, in the key of F the backdoor dominant is Eb7 and the backdoor tritone sub is A7. I think this would make a great lesson.
I remember that in theory class, we thought of the Eb7 A7 tritone relationship the other way around, meaning that Eb7 is the tritone sub of A7(V7/vi-7). Although that was only in the instance if the following chord after Eb7, would be Dm7 (vi-7). But personally I feel like from a 'how it sounds' perspective, the (bVII7) it's more related to the sound of (iv-6/9) rather than (V7/vi7).
I think in terms of the parallel minor key. In Fm, the relative major key is Ab: its dominant is Eb7, and the tritone sub is A7.
I would refer to that as a 2-5-1 minor progression but the 5 should be the tritone sub.
Per my teacher, whenever I play a minor 7th. flat 5, I substitute the minor 3rd. for 4th.
At 9:08, the Eb6 substitution works better as a Eb13 because you have the implied voice leading of D => Db => C =. Bb (over Eb maj7 => Eb13 => D7 => Gm). Even though the Db and the C in the above line are not in the melody, the ear still hears the descending line cliché.
I've watched hundreds of YT jazz videos, but no one taught me this. Thanks for the lesson, subbed, oops!
I always feel like these videos are incomplete because the logic of tritone substitutions we're always told is that they work because they contain the same crucial tritone as its sub and therefore, maintains the same voice leading and satisfying resolution. I have no objections to this argument but then I have to ask "Why can't *any* chord with the same tritone work as a substitute dominant, especially chord types that are already traditionally used and recognized?"
So in truth, tritone subs should include not just the two dominant 7th chords/German Aug 6th chords, but also both the French aug sixth chords, the two #5 dominant 7ths, and both the Z cell chords (B F C F# and B F A# E to C Major for example) I'm sure I'm not the first ever to make this observation but you'd think with all the jazz harmony content out there and all that I've consumed that I would've heard someone talking about it by now.
Hm you lost me an it on the examples. Maybe the disconnect is that in jazz we alter dominant chords regularly. Using alterations, all types of sixth chords are present (and many more!). But maybe I’ve misunderstood…
@@JeremySiskind Altered dominants are a regular thing, of course. And so are tritone substitutions. It's a little bit less often that I hear people talking about how any altered dominant can also be tritone subbed. But my real point was to talk about the sorts of altered dominants that don't really get talked about as often, mainly the Bartok Z-Cell (0167) which is about as dissonant as a 4 note combination can be. I'm not even sure there's a common nickname for it in jazz.
Coming from a classical harmony training, I wouldn't even call it a substitution, since all notes of the chord are 100% within the root minor scale.
Fair enough! You could say that about the “regular” tritone substitution too, depending on how you conceptualize the scale!
@@JeremySiskindgreat point! My jazz harmony teacher in college suggested that substituting a Db7 for a G7 was actually just a rootless G7(b5, b9) with the b5 in the bass for chromatic voiceleading back to C
Imma call my energy drink "OctaTonic", and its mascot logo is gonna be a flexing octopus.
Ooops! Thanks
Oopsie woopsie!
To me, coming from more of a classical background, that “other” tritone sub sounds like another cadential suspension of the dominant. For example, a i6/4 to V resolving back to the tonic. The only difference being the i6/4 is subbed with a VI chord. That chord generally tends to have a “tonic” function as far as progressions go….
The turnaround at the end of All of Me has a C6 Ebo7 Dm7 G7. Although that is in a major key and the substitution you demonstrated is for the minor 1-6-2-5 is the major one at all related to what you were discussing?
Yah boi. This is the good shit.
Oops… Great stuff again today as usual! Thanks!
very nice. Thanks! I thought from the title that you were going to talk about how a tritone subs are classically dominant chords, but then point out how often times they can be major 7 chords instead of dominants. (So, V maj7 to I instead of V7 to I.) They seem to function like dominant tritone subs to me.
From a classical point of view, in its "6" form it's just a legit IV-V-I (Ab6 is nothing more than Fm7/Ab). In my opinion IV is less powerful than a real II, apart from the bass approach (Ab to G, in Cm). The best of both worlds might be a II in its 2d inversion (Dm7b5/Ab). This is the second chord of "Days of Wine and Roses", which is always wrongly written as a 7 on lead sheets. I'm not sure why this error occurs in lead sheets, but I often find that jazz people are less used to dealing with inversions, whereas in classical music it's the bread and butter...
Great video. What software are you using to draw on this blank sheet music. I would love to use something like that!
Funny.. the first tune I thought of was beautiful love because I feel like that tune is really needing some variation to all the ii-Vs.
Could someone kindly tell me what iPad app Jeremy uses (with the iPen, I guess) in these fantastic videos? Thank you so much!
It’s the app forScore. It’s not really intended to be used this way, but it works pretty well!
@@JeremySiskind Thank you, Jeremy. I just discovered your channel and I'm watching and rewatching every single video attentively; they're so informative. Thank you for sharing your vast knowledge!
What about the minor chord with a major 7th, adding a bass a fifth below creates a 7#11 chord with the same notes. Is that called a substitution? It could be a IV chord going to a flat VII chord, like in "Misty", or a I chord going to a IV chord.
The major 6 chord is also an inversion of the minor iv chord, no? So one way of thinking about this is that you're turning a ii V I into a plagel cadence. My recollection (I'm no expert) is that in montunos, latin players did the opposite. What was once a iv V I is often played as a minor ii V I.
plagal cadence is for the IV-I motion. i don’t know the name of the IV-V-I. V-I is an authentic cadence
it’s still helpful to see the ii in montunos as a IV6 because the bass player will be playing it that way, but yes that substitution is common.
Rachmaninoff's C# prelude is built around this!
You could think of the bVI as a Neopolitan to the V7 chord. This creates a lot of downward gravity to the V7.
Oops! Listened to the whole thing, but commented before it was done. 😉
This! N6 is a pre-dominant substitution that functions similarly to the way a traditional tritone-sub works, but for pre-dominant instead of dominant. Changing the notes for color is almost always borrowing from the parallel major or minor. This was all so cool. Oops just for proof, because none of the video was “oops!”
@@CWBellaI think you mean Neapolitan 6th.
oops
Opps ! A better example of a standard would be "Yesterdays".
Oops, another good one
Hey but the Eb major is just an iverson, oops I said inversion
Like Allen or Ethan?
I agree! You could say that about the “regular” tritone substitution too. The Db7(b5) version of G7(b5) after all.
Oops. This coloration in minor is cool!