Wish I'd had this kind of straightforward advice when I was a kid starting out. This is a great channel and a public service for keeping jazz alive.

@Learnjazzstandards

6 жыл бұрын

Hey, thanks Paul! Glad to help.

I always thought that 'tritone substitution' meant using a different dominant 7 chord but with tritones in common, so in they key of C for example you have the tritones B & F in the V7 chord (G7) and you replace that chord with Db7 because it also has the same sounding tritone of F & Cb. But didn't realise how the substitution chord is actually an interval of a tritone away from the dominant chord until watching this! Haha!!! Thanks for simplifying this!!! :)

Very nice 👍 more lessons like this plz

Nice vid!. This is right where I'm at. Thx. Love that almost all of your content has info for any instrument.

@Learnjazzstandards

6 жыл бұрын

Hey Chris, glad to help! Thanks for watching.

Wish you'd broken apart what you did with the 2 5 1 at 2:30. Sounded gorgeous. I have guitar as my auxiliary instrument, currently playing it in a big band so i'd love to learn that stuff that you played.

In the song (I Love You) For Sentimental Reasons there is a Tritone Sub of VI right off the bat in the key of F, and later Tritone Sub of V. When you playedminor ii Tritone sub I and said it is used in classic blues stuff I recognized that sound from Coltrane’s Mr. P.C. In the last four bars.

thx

Good man great stuff thanks.

@Learnjazzstandards

5 жыл бұрын

Thanks Ben!

Great lesson! What scales work over a tritone substitution?

Thinking about your last example (Tri Sub of ii) - I see the Ab7 as Sub-V of the double dominant, which would be D7. Your second example (Tri Sub of VI) can also be described as Sub-V of a secondary dominant (which is the dominant of any diatonic chord, except I obviously). I like your approach too, of course. Keep up the good work!

@chebstar

6 жыл бұрын

lalas147 I was thinking the same thing! Instead of thinking of the VI as a major chord, thinking of it as a dominant of II! Wow, didn't realise tri tone subs can be used in so many ways, I only knew them as flat II! This is so exciting, opens up a whole big new box full of harmonic candies!!! Yay!

@Learnjazzstandards

6 жыл бұрын

Hey lalas147, that's totally right! And that speaks to the fact that, especially in jazz harmony, dominant 7th chords are a common substitution.

Hi Brent! Congrats to your clear and proper approach..., most in all: no talking around. What i real prefer! How would you analyse progressions like Am7/D7 > Abm7/Db7 > Gm7/C7... (Blues for A.) Do you consider the change in between (Abm7/Db7) as a G7? I even tried D MM over Db7, Ab MM... and all should sound bluesy... Anyway, cheers and all the best! Your fan Guenther, Austria

In the last example it sounded like A6- not A7?

So, when soloing, can you play the arpeggios/scales of the substituted chords regardless of whether they're actually being played? For example over a Dm7- G7- CM7 play a Db7 arpeggio over the G7.

Do you have lesson on: Back-Door' Progressions, resolving to the Tonic 8 above ?

@Learnjazzstandards

6 жыл бұрын

Hi Donn, I don't have a video on Back Door Progressions, but I do talk a little bit about them in this podcast episode: www.learnjazzstandards.com/blog/ljs-podcast/learn-jazz-theory/ljs-121-understanding-secondary-and-backdoor-dominant-7-chords/

why do i prefer doing Dbminor7 instead of Db7, it really just sounds more interesting to me