What I love about this is that there is no filler material, no drama or mugging for the camera. He gets right to business with plenty to study and learn.
0:48: easiest way to understand these: G7 is dominant V7 of C. Db7 (bII7) is tritone sub of dominant V7. Bb7 (bVII7) is “backdoor dominant” of C… and E7 (III7) is tritone sub of the backdoor dominant.
E7 and Bb7 are for A- G7 and Db7 are for Cmaj Because they are relatives, all 4 works. Also in a way F#7 (or Bmaj) can work as a sub of G7 because all notes are going a half step up to Cmaj. Same for Ab7 (or Dbmaj) going down a half step.
If you only look at the dominant and tritone dominant function. The Bb is the backdoor dominant and comes from the minor interchange Fminor in C major. If you use all the dominants leading to C then it can get confusing I think. The Bmajor I see as the upper structure of the Abm chord as in the Abm7 Db7 so the tritone dominant structure. The Dbmaj7 is the Neapolitan subdominant which is seen in the tune half Nelson at the end in the turn around. I'm just a bit careful playing them all as dominants, because then everything gets a bit mixed up I think. Let me know what you think, love to hear it
So if we're looking at all the 4 dominant chords that resolve to a one 1 chord, let's say to B flat major, it would be the 5 chord F7, the backdoor dominant A flat 7, the tritone B7 and the D7 whatever you call that. So the only one that is very awkward is resolving a D7 to B flat major,so the way you can think about that to make it easier is to think of the D7 as the 5 chord resolved to G minor and the G minor is a substitute for the B flat major,is that right?
What I love about this is that there is no filler material, no drama or mugging for the camera. He gets right to business with plenty to study and learn.
Thank you so much, I try to bring the most important information, I'm a musician, not a video maker :)
Thank you so much for the nice comment
Thanks Soren! This was so helpful! What a great way to think about all these dominant substitutions and how they are related!
The dominants are amazing in this way, and it opens up new ways of playing. I totally love the combinations of the different dominants
0:48: easiest way to understand these: G7 is dominant V7 of C. Db7 (bII7) is tritone sub of dominant V7.
Bb7 (bVII7) is “backdoor dominant” of C… and E7 (III7) is tritone sub of the backdoor dominant.
5:40: this actually hints at a standard chord progression: I, I7, IV, iv, I.
True that, 4 dominants, the E7 tritone to the tritone, but also the dominant to the parallel minor.
Love your comment, sums it up
Yes exactly, this was the thought of it. How the different dominants are seen in jazz standards all over the place
E7 and Bb7 are for A-
G7 and Db7 are for Cmaj
Because they are relatives, all 4 works.
Also in a way F#7 (or Bmaj) can work as a sub of G7 because all notes are going a half step up to Cmaj. Same for Ab7 (or Dbmaj) going down a half step.
If you only look at the dominant and tritone dominant function.
The Bb is the backdoor dominant and comes from the minor interchange Fminor in C major.
If you use all the dominants leading to C then it can get confusing I think.
The Bmajor I see as the upper structure of the Abm chord as in the Abm7 Db7 so the tritone dominant structure. The Dbmaj7 is the Neapolitan subdominant which is seen in the tune half Nelson at the end in the turn around.
I'm just a bit careful playing them all as dominants, because then everything gets a bit mixed up I think.
Let me know what you think, love to hear it
E7 - C Dominant of Relative Minor (Am)
Yeah, good one, could not get this into my mind when making the video. Thank you
I might call it the Dominant of the Relative Minor
Yeah man, perfect, why did I not think of this lol 😂. Of course and so logical. Thank you so much. I love when I learn.
So if we're looking at all the 4 dominant chords that resolve to a one 1 chord, let's say to B flat major, it would be the 5 chord F7, the backdoor dominant A flat 7, the tritone B7 and the D7 whatever you call that. So the only one that is very awkward is resolving a D7 to B flat major,so the way you can think about that to make it easier is to think of the D7 as the 5 chord resolved to G minor and the G minor is a substitute for the B flat major,is that right?
You totally got it right. The Gm7 G Bb D F are the same tones as Bbmaj6 Bb D F 👍😊
If you use the diminished scale on the dom7s, all four would obviously work equally well.
Yes indeed. Then you will indeed take a scale approach. I like the separate sounds when you dig into the chords because it separates the sounds.
So….what does it all mean🤔 call it Coltrane licks or Dolphy fingers🎶🎵🎶🎷
Or Coltranes dolphins or the dolphine called Coltrane. I don't know what it means. Buts it great fun
Apples and oranges comparison.
Often called mediant dominant.
Yes, thank you so much