New Tritone Substitution Mastery Jazz Piano Techniques Mini Course - Part 2 of 3 (Podcast Episode #45)

Posted by: JAZZEDGE on August 31, 2021

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00:05 Hey guys, Willie Myette, creator of jazz edge. Welcome to Episode 45 of the confident improviser podcast. Today we are talking about part two of the new tritone substitution mastery, jazz piano techniques mini course. Alright, so let's jump right in here with our sheet music, okay, and I'm going to show you in a little bit how you can grab the sheet music. Alright, so let's start first of all with our basic 251 progression because we're going to be talking more about these tritone substitutions in regard to our progressions. Alright, so our basic 251 progression is a D minor seven g7 to a C major seven. Okay, if I put my roots down there, there's our basic 251 progression. If you need any help with that, take a look at Episode Four, I'm sorry, Episode 15 of the confident improviser podcast right. There's also a couple of other episodes in there, which I did some 251 quizzes, so you could take a look at them there after Episode 15. But go back to Episode 15. And then you'll see the whole explanation of the tried tone of the 251 progression rather. Alright, so now let's talk about the tritone substitution. Alright, so here we have again, D minor seven g7, C major seven, that's my to my five, my one, right, so I can play a minor seven g7 C major seven. But now what you see here is I can do either a g7 chord, or a D flat seven chord. Let's just remind ourselves once more, well, why G or D flat? Well remember D flat is a triad tone away from G, okay, the root of the G dominant seventh chord is G, if we change the root of the G dominant seventh chord to its triad tone, we now get a tritone substitution, right? So by the play G, if we play D flat over there, that is now a tritone. substitution. Hey, Willie, here's a question for you can I still play that same g7 chord while playing a D flat underneath there, right? So can I play the same g seven chord and not change the notes and still play a D flat underneath there? Yes, you can with a butt right in the butt is that sometimes it works. Sometimes, voicings don't sound great, so take a listen to it here. So here's D minor, g7, C, here's D minor, D, flat seven, C. Now if I were to play my rootless chord voicings Richard talked about before, and I play D flat seven underneath there, or D flat or anything, you hear that that chord sounds much better. So yes, you can play the same g seven voicing watch changing the root of the chord to its try tone, but you got to just kind of pay attention to the voicing because sometimes it's going to sound good. And sometimes the way that the notes of the voicing our range are not going to sound good, that's where you have to use your ear. Alright, so right now, rather than using the same notes of the chord, we're going to change the notes of the chord to just a basic D flat seven chord, D minor seven, to D flat seven, to C major seven. Great sound right? So I could go 03:23 to five one like that, or I could do a two sub five to one, right, and that's the way that we would analyze it, we would say that this is two, I could put my two in here, this would be sub, five, seven, okay. And then we usually put a dotted line, or a dotted arrow going to the C to the route that we're moving to, right? If we if we have G seven, that would be five, seven, okay? And that would be a solid arrow. Okay, notice that the analysis for the sub five has a dotted arrow analysis for the five seven chord, the G seven has a solid arrow. If you don't get that, don't worry about it. It's really not all that important. But for you advanced players, it's just good to know. Right? So D minor seven g7, C Major 725125. Or I could say hey, look, I don't want to play the G seven. I want to instead substitute the g7 with a chord that is a tritone away from G right, which is D flat seven, and then move to C. Another question you might have is okay, now wait a minute, I know I can substitute the g7 with its Triton. Okay. I also realized that within the g7 chord, I have the interval of a tritone. But that's not what we're talking about. What we're talking about here is substituting the root of the G chord with a note that is a tritone away right which happens to be D flat. Okay, so I know I can do that. I know I may or may not be able to use the same note To the G seven chord in the right hand, I know I'm gonna have to probably use my ears and figure out if I like the sound of them or not. Okay. But here's the other question I have, when I substitute that g seven chord and I play the D flat, does it have to be a dominant chord? Well, what do you think? Okay, the answer is, Yes, it does. Okay. Now, I don't like giving always hard, fast answers. Because you know what, with music, you can really do anything, right? I mean, if that's the sound you're looking for, I mean, I could do that right? and say, hey, that's my music. So if I want to go D minor seven, to like, D flat minor seven, to C major, seven, fine. The thing though, is, that's not a tritone substitution. Yes, I'm substituting the route with a tritone away, but a true tritone substitution is going to keep that same dominant quality. That means that when I do this tritone substitution, it's still going to be a dominant chord, right? still gonna be a D minor, seven g7, C, or a D minor seven, B flat seven, to see if I decide to do D minor seven, D flat major seven, to C major seven. Okay, that's fine. I'm changing the route motion there and I still am using a note that's a tritone away, but it is not a true tritone substitution. Okay, so try turn substitution is still going to remain a dominant chord. Alright, so let's move on. Now let's take a look at some examples. All of these examples I'm going to be using are all from my standards by the dozen cores which are found at jazz edge. So if you want to learn any of these songs that we are talking about, you want to get all of that music and step by step and understand all these chords and understand these standards. Then check out jazz edge comm and standards by the dozen. Alright, while I'm pausing here, let me also just remind you how you can grab the sheet music for this lesson, right to get the sheet music just go back to jazz edge comm slash Triton, or take a look at the card that just popped up in the YouTube video. Click on that card that will take you back to the site where you can download all the music, the music is free of charge, there's there's no charge for it, okay? So I would definitely suggest going back and grabbing that music. Alright, so here's misty, very simple shells in the left hand. Okay, so I'm playing in the left hand is a root three shell, and I'm playing a root seven shell loop seven shell root seven shell. Okay, we talked about shells and other podcast episodes. And if you want more information on shells, definitely take a look at my jazz piano daily lesson. Alright, so anyway. 07:50 Now, when we are doing a tritone substitution, what are we looking to substitute? Remember? Can we substitute a major chord with a tritone away? Now? Can we substitute a minor chord with a tritone away now? Can we substitute a dominant chord when it tried tone away? Yes. All right. So the first thing we want to do is take a look at this little section of music and find the dominant chords, any dominant chords, but Oh, here we go E flat seven. Okay, so we know that that E flat seven, at least in theory, okay, at least in theory has the possibility of being able to be substituted with a dominant chord that is a tritone away from the root E flat. So that's a tritone. away, that would be an A, right? So in theory, we know that we could replace that E flat seven chord within a seven chord. Willie, why do you keep saying in theory, right? Especially so weird like that, in theory, right? Because it all has to do with the melody, right? When you're dealing with substituting chords, you always have to think about the melody, right? You always have to pay attention to the melody. And you always have to, like figure out like, okay, is this chord going to be too tense with the melody. And then if it is, that doesn't mean that you can't do a tritone substitution during the solo section. So that's another option that you have, okay, it's a little bit more advanced, that would mean that you have one set of changes for the head, and another set of changes for the solo section. It's actually not uncommon. And employers do it all the time. So it's something for you to consider. Anyway, though, let's kind of move on here. And let's take a look now, right. So now we have a tritone substitution application using misty, let me play it for you and you tell me what you think. 09:45 We do it again. I'll play the original It was a Triton. Now what you notice here is I've already written this out for you, okay. And I've shown you that these notes here are the sharp nine, flat nine, flat seven and sharp 11. So that means that the melody notes here, they are functioning this way on an a seven chord, that's the sharp nine as the flat nine, that's a flat seven, that's a sharp 11. Now, immediately, right away sharp nine, flat nine, sharp 11, you could see that each one of those melody notes are really hitting a lot of tension, right? sharp nine, flat nine, sharp 11. There's a lot of tension there with those with those notes. So now you have to ask yourself that question of like, Okay, do I? Do I like the sound of that tension? And you might also ask the question of like, this is the beginning of the song is it kind of too soon to be adding in that tension there. Okay. Now, if we take a look at how it works with the E flat seven chord, that's the 13th, fifth, third root, right? So you can see that those notes really don't have a lot of tension on that E flat seven chord. Okay, they all sound all sound quite nice on that E flat seven chord. Right? So when I changed the route to a and I changed the chord to a seven chord, quite a bit of tension there. Now you might have this question, okay, so wait a second, I get the fact that a seven, I understand that I could replace my E flat seven chord with an a seven chord, right? So typically, this was E flat seven right here. And I know I can replace that with that a seven chord. But I also realized that as soon as I play the melody with it creates a lot of tension there. So maybe I don't like all of that tension. So the question that I have is, well, what if I play both chords? Could I play E flat seven, and then a seven? Well, sure, why not? In fact, what if I put it right here on beat four? Okay, so what if I did E flat seven on beat three, and a seven on beat four, I get this. 12:20 It's kind of interesting. Now Isn't it nice? Alright, so D flat seven, notice I'm filling it out with the seventh and the third. And then the a seven chord that sounds nice root three, seven in the left hand, that's the nine sharp 11 and the seven 12:43 went to my a flat. So that I even sounds better. Doing that on a seven, then resolving to the sharp 11. So we have 13:09 kind of like that as well. Right? So there's many different possibilities that I have here. And many different ways in which I could play around with this. But the most simple is E flat, E flat, a flat seven, and then go to the a seven, then bring in the sharp 11 and then go down to a flat. Now what's nice about doing something like this is now I have three chords in this measure, it just kind of moves that measure along a little bit more, right? So the original Don't forget is this. Nothing wrong with that, that's fine. Okay, the alteration here is flat. I don't really like that too much, because the a seven is just too much tension. But now what about this third option of pushing the a seven to beat for what? Right really starts to sound nice. So these tritone substitutions provide you with a lot of great options for re harmonizing your songs. And then also adding new harmony to your tunes, right? A lot of times we think of reharmonization and reharmonization is changing the harmony that's already there. But these tritone substitutions, you could also add new harmony into the progression, which adds more chords into the you know measures which obviously you know, takes more practice, but it also creates more motion in your arrangement. Alright, let's take a look at another misty example here. Right? This is good. You'll like this one. 15:03 From measure six, and then you will be moving right back to the beginning of the tune right. So once you get to this spot right here it goes back to the top of the song. Okay? So first of all, we'll take a look, let's find our dominant chords. Alright, so we got B flat seven, we got c seven, we got B flat seven. And the first thing that we could do is we can go ahead and we can just start to replace those chords with their tritone substitution before I show them to you if you want. Pause the video or pause the podcast audio right now and try and figure it out on your own. First of all, B flat, what does it try tone away from B flat, I get that C? What is it? tritone away from C. Okay, those are the two chords just that B flat and C. So what's a tritone? away from B flat? And what's a tritone? away from C? Okay, so now let me answer the question, try to get away from B flat is going to be E, right? And then a tritone away from C is going to be G flat. So now let me play this example. And I want you to listen and I want you to really just use your ears. Don't worry about the theory. Just listen, you tell me if you like the sound of it. 16:22 Figure Listen again. And then here on this E seven here, I can actually add in that that G sharp in there. Okay, that's what the way I played it. So now, when you play this, let's just play this chorus, forget the melody, F minor seven, e seven, then coming up to G minus seven. Now, let's talk about the dominant chord and dominant motion. I've done a podcast episode on it. So you could you know, go back and take a listen to the podcast episode on dominant motion. Really important to understand dominant motion. But basically dominant motion again, it's that cycle for motion, right? So if I go back to my circle of fifths here, right, my dominant motion is, well here, let's let's take a B flat seven, right, so B flat seven wants to resolve to E flat, F, once we resolve the B flat, C wants to resolve to F right. So that's my dominant motion. Okay, so where does e seven want to resolve? Again? He wants to resolve Where? I'm sorry. So he right here, down in this quadrant once resolve where once you resolve to a but now if I'm going from E to G, right? Does that work? Right? So take a listen. F minor seven, e seven, G minor. Right? So it's, you can get it to work, but it's not a super strong resolution. Okay, it's not like I was going from a seven to a minor seven, or some kind of a, if I was going E to a, then yes, it would work. So I say a lot of times this kind of stuff. No, it really doesn't work all that well. Okay, instead, I'd rather go to the B flat seven. Now you say like, Well, why the B flat seven, versus going to E, right? It's kind of the same thing with D flat, then going to G versus e going to G. Alright, well, this is why because the B flat seven still is working within the key of E flat, which Miss D is written in, right? That's the five chord in the key of E flat, and then G minor would be my three, this would be sub five of two, two sub five of one, right? This all can kind of work in here, right? But when I go B flat seven to G minor seven, it's going to sound like a stronger, more natural resolution than when I go e seven to G minor seven. Okay, a lot of times what you want those tritone substitution chords to do, at least at the beginning, while you're still learning where you're starting still trying to figure this out. You want them to either resolve down a half step, or you want them to resolve up a fourth. Okay, so if I was going to find that tritone substitution would sound great. Or if I was going down to E flat next, fine, that tritone substitution would would work well. Okay, now wait a second. Willie, you just said if I went he done the E flat, that tritone substitution would work well. Well, could I do that right here. Rather than going to G Could I play E flat major instead? Well, let's try it. 19:54 Ah ha, you can write so that gets into a little bit more advanced. theory that I'm going to that I'm not going to dive into right now because I don't want to overly confuse you. But all of these chords can be changed, right, you can harmonize and change the harmony around. I'll tell you what this this trick is that's going on here is that one chord can also replace a three minor chord or a six minor chord. Okay? So it's just kind of like those little tricks that you end up learning. Alright, so anyway, I would say that the E seven going the G minor. Now, I would say no to that, instead, I would say, keep the B flat seven in there as it was right? Now what about bits, the G minor, the G flat seven. Notice I'm also bringing in that third again, right here. That's what I'm doing there. And that's what I'm doing here. Okay, I kept the a flat, it could also be a G sharp as well, that would be more enharmonically. Correct. So G minor, flat. Okay, so all of this, yes, this all works in here. Okay, that's all fine. Now, I could also flesh those chords out a little bit more. At the end, I don't like it. I can like kind of make those bigger chords. And all of that stuff is explained in that standards by the dozen lessons. So if you really want those bigger chords, a two handed voicings and all of that, just go back to Jazz Age and take a look at that standards by the dozen course, and you get all of that. Alright, so that's the example for misty. And then now I have one other tritone substitution quiz for you. All right, so I'll go through each of them. And then you get to decide what tritone substitutions you're going to put in. So again, here I have D minor, seven g7, C major seven, right? So the g7 would be the chord that you would substitute, right? Okay, so what would you substitute that with that is for you to figure out Don't worry, I have all the answers on this other sheet over here, but I don't want to give them to you just yet. All right. Instead, if you want to download that sheet music, let me show you that as well. Just remember, go right back to jazz edge. COMM slash try tone, or check out that card that just popped up in the top right of the YouTube video and you can grab all the sheet music there as well. Alright, so back to this. This over. Alright, so next chord, or next line here, line two, F minor seven, B flat seven E flat. So we were would substitute the B flat right? Now I'm not going to tell you for the rest of them which ones we're going to substitute. Just remember all the dominant chords you're going to substitute. Okay, so that's, that should be enough for you. I don't want to hold your hand too much with this stuff. Okay. All right, next one here. G minor seven, C seven, F minor seven, B flat seven to E flat minor. Now, let me just help you along with this one right here, you might have a question. I'm like, Okay, so this is going B flat seven E flat minor, can I still do a tritone substitution there, when I am not going to a major chord? Yes, the target chord can be really any chord typically is going to be a major, a minor or a dominant, right. And it might be a minor seven, flat five, something like that. If it's like a diminished chord, that starts to get into some, you know, kind of special use and the tritone substitution may or may not work well. But if you're moving if your target chord, the chord that you're ending on with your tritone substitution, if that's a major minor, a dominant chord, you're absolutely fine. You can resolve to any of those three types of quality chord, no problem, right? Of course, everything is dependent on the melody. What about this next one, D minor, g seven, E minor, a seven to E flat. Alright. So think about that one. I remember what I was saying that the tritone substitution for now, right? For now, okay? You're thinking resolving down a half step or resolving up a perfect fourth, okay, so resolving up a fourth or resolving down a half step, okay. If it's not doing that kind of resolution, then I'm going to tell you that the tritone substitution may or may not work and it's probably going to skew more toward not working, okay. So just bear that in mind. All right, next one, B flat minor, g seven, C minor, f7. To E major. 24:39 Nine and finally, number six, C minor seven, f seven, D minor seven, g7, C minor seven, f seven, B flat major. Right. Now in the next episode, I am going to go through all of the answers. Okay, now, I am also going to show you Right now the answers to the try tone quiz from last week's episode. Alright, so if you remember, this was the tried tone mini quiz from last week. Okay? If you have not gone through that yet, take a look at Episode 44. Take a look at that video or if you want to pause the video right now and just kind of take a look at these. And I'm going to show you in three to one. All right here is the answers for last week's episode. That's 43 down there, it's actually 44. Yep. All right, so I need to just fix this down at the bottom here. I'll do that before I upload it. Alright, so first one, E and B flat, that's a tried tone. B and f that is a tried tone, a flat, E flat, that is a perfect fifth. An A that is a perfect fourth, f flatten and B flat I told you that was a kind of a trick, right? Because that is the same thing as this first one right here, okay, which is really A and B flat and a flat and C it's a major third DNA, that is a perfect fifth, C sharp and g that is a try tone. C and F that is a perfect fourth a an E flat that is a triad tone, G flat and D sharp, right, that's a little tricky there as well to put that in harmonic that is a triad tone. And then finally GND, that is a perfect fit, right? Let's move on to the other one. So we had f seven. Okay, the trifold and read that would be B. So we had the tritone that would be a flat seven. Okay, now, notice on here, I still kept the F sharp and the C enharmonically. We would typically write it like that, but I'm just keeping the same chord just so you can kind of see it with the same notes from the previous chord. Alright, g seven, try tone away. D flat seven. last line, B flat, tried to run away. He said he tried two other ways, a seven. And then here the a flat seven. Hey, I did this and harmonic here and did the G flat. But on this one, I kept the F sharp, because it just kind of helps you to see that it's a D seven. Alright, so that is it. For today's podcast episode, I want to remind you as well to check out all of the other podcast episodes on my YouTube channel. And if you like these jazz piano lessons, check out jazz piano daily, it is absolutely free. There are free piano lessons, free jazz piano lessons every single day. Just go back to jazz piano, right, and you can get all of the information there. And finally, if you like what I'm doing here, please do me a favor, subscribe to the channel, like the video and most of all, turn on notifications. So that you know when I come out with a new lesson. I put a bunch of content onto YouTube, and is a great way of really being able to really learn piano, not just jazz piano but all different styles. I tell you I I'm Willie Myette, creator of jazz edge. Thanks so much for watching and hanging with me today and I'll see you guys in the next podcast episode.

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