New Tritone Substitution Mastery Jazz Piano Techniques Mini Course - Part 3 of 3 (Podcast Episode #46)

Posted by: JAZZEDGE on September 7, 2021

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00:05 Hey guys, Willie Myette, creator of jazz edge Welcome to Episode 46 of the confident improviser. This is part three of my new tritone substitution mastery, jazz piano techniques mini course. Alright, so if you've been following me for the last couple of episodes, you know, we've been really dive in heavily into try tones. So let's keep the party going here in Episode 46. I said today I'm going to show you something that is super slick, right, and then this is how you can start to pre seed chords with their tritone substitution, right. So buckle up, this is going to go a little bit long, I get a lot of information for you. And I'm also going to show you how you can grab all of the sheet music that you see on the screen, and I would suggest that you download that sheet music. Alright, so first of all, let's start here with all the things you are okay, I'm not gonna worry about the melody of this right now just here's the first four chords, F minor seven, flat seven, to B flat seven, to a flat seven, and then and then it goes to D flat major seven after that, alright, so f flat, E flat, a flat, D. Okay? Alright, so now, this in theory, right? We could proceed these chords with their tritone. So it's going to take a minute here to explain this. So typically, what would be the dominant chord that would lead me to B flat minor seven, that's where we're going to start first, that dominant chord would be f seven, what would be the dominant chord? That would lead me to E flat seven, that dominant chord would be B flat seven, okay. And what would be the dominant chord that leads me to a flat that would typically be well, E flat seven, right? So what we're doing here on each of these chords, and you see they're bold and underline, these are the tritone substitutions of these chords. Okay? So just like remember, like, in the last episode, we were talking about how we could have like, you know, that's a C seven. But if I change the root to G flat, that's my tritone. substitution. Okay, well, the same thing here. So F seven, if I change the root, what do I change the root to try going away? Right, rather than playing an F seven chord, which would be my dominant motion, that would lead me to be flat, no, no, I don't do f seven. Instead, I do it's try tone, which is B seven. So rather than playing F, I played B seven. And then I go to B flat minor. And then rather than going to B flat seven, which would take me to E flat, right? B flat takes me to E flat, no, no, no, no, I don't do B flat and said I do which try tone, which is an E, and then E flat would take me to a flat, but now I don't do that, instead, I do it straight down, which would be a, right. So that means that I am now preceding each of these target chords, and I will put the target chord with a T here, right? And then this right here, is going to D flat, okay, so just pay attention and that so that d is moving to D flat. Okay, so those are my target chords. Now, each of these blue chords that are circled, this is my try tone substitution that's preceding these targets. Again, this could also be dominant motion, I could do dominant motion, and just again, just to make sure that we're on the same page, that would be an F, that'd be a B flat seven, this would be an E flat seven, right? And then this would be a flat seven, okay. So if I just did the dominant motion, it would sound like this. 04:04 Alright, so then I'm going F minor seven, f seven, B flat minor, B flat seven, and then a flat seven, flat seven, again, right, a flat, a flat seven, then the D flat. Now obviously, it doesn't sound all that great, especially like places like this, right? Where you're playing that E flat seven, twice, just sounds silly to play that twice. Instead, it would sound better to have some more motion going on. Alright, so that's where what we do is we instead do our try toes. So now I have 04:40 flat, a flat, D flat, D flat major seventh, it should say right? So not not dominant seventh anyway, it's going to D flat. That doesn't really matter what the, what the quality is, right? So you see how this tritone substitution Oh, It sounds super slick, right? But the question now is, does it work with the melody? Okay, so that's what we have to figure out. Alright, so now let's try play it sounds great with the melody, doesn't it? Okay, sounds awesome with the melody. So now, let's do this. Let's fill these shells out a little bit more. And then let's, let's really listen to this. 05:42 Right? That sounds super slick. Again, what am I doing here? Each one of these is my tritone substitution. Okay, and then how I got to this tritone substitution is, I could say, Okay, look, all of these orange ones that I'm circling right now, that's my target. That's what I'm trying to get to. I'm trying to get to I'm trying to get to these orange circles. So how do I get to the orange circle? All right, well, I know right here, I could do my dominant motion, right? And then 570, right, and then move on like that. Okay. But you know, the dominant motion we already said, doesn't sound all that great, especially when we have like, E flat seven being repeated, repeated twice, right? And then moving from a minor to a dominant chord, right? So the F seven, right? sounds silly. Right? Especially like with that g ad just does not does not work all that well. So instead, we replace all of these, the target that we are going to the target, we go to the target, not with its dominant chord, but with its sub five, or its tritone chord. Alright, I'm going to show you a much easier way of thinking about this. Okay, so again, let me just get all of my target chords, again, B flat minor, E, flat seven, A flat major, and then D flat major, these are my target chords. Now notice, every one of these preceding chords, is a half step higher. that's easiest way of thinking about it. So all of your target chords, just think, go up a half step, make a dominant, or perhaps that make a dominant or perhaps that make a dominant, or perhaps that make a dominant, right. That's it. Oh, perhaps that make a dominant. So I go f, I'm looking ahead, right. So this is the key, I always have to be looking ahead, you'll see this a lot of times the eyeglasses in charts, right? You always have to be scanning ahead. I know I'm an AP, but look, I'm going to be flat. So I need to say hey, quickly, before I get to the B flat, let me do my tritone substitution, or an easier way of thinking, let me just go up a half step. Let me go up a half step, make a dominant chord, and then I get this sound. 08:07 Right? That's a slick sound. It's a lot slicker than just going to like when you're playing all the things you are and just playing it typically with the chords that are written in, you got one chord per measure. Now when you can have multiple chords for measure. 08:32 Again, improvising. You can like really get some cool sounds. That tritone substitution there gives you just so much cool sounds for the arrangement, but then also for the improvisation. All right, let's try another we've got two more examples here. deza, wine and roses. Let's take a peek at this one. So this is a 09:18 no that'd be back. Again, all of these standards are in standards by the dozen found back at jazz. Alright, so what can we replace here? Well, we know that we can go through we can replace all these dominant chords right? So with their try tone, a would be replaced with E flat, g with D flat, C with G flat. Okay, and I've already done that right down here. Notice in here I write with a question mark, right? Because the question is, does this actually work? Right? Well, it's for you to decide. Stick Lesson. 10:05 I'm sorry. Again slowly. Okay, so let me give you a couple of observations here. Alright, so when I'm going, Hey, I'm sorry, the E minor seven, flat five, hey, to the E flat seven. The melody note is what E, that creates a flat nine, right? That is a flat nine. And that flat nine on that. E flat seven chord is a real tricky tension to be able to work with. Sometimes you can get it to work, and it sounds good with the voicing, but sometimes just wear it to landing on the instrument. It just doesn't sound great. Alright, what about the D minor? D flat seven? What do we have right here for the melody? This is sharp nine, flat nine, right? So this one right here is sharp nine. And then we're going to flat nine. Wow, immediately. We've already talked about this before, right? A lot of tension, isn't it on that melody? And then G minor seven. What about G flat seven. Now here, it's a little bit easier because the top melody note is tying over. But listen to what happens if I play the G minor. And then a G flat. Right? That sounds horrible. That's okay. So that G flat isn't really going to work all that well. Now what happens though, if I just tie it over? Okay, maybe not so bad. If I flesh it out with some other notes. I can kind of get that to work. So maybe we can get that to work the D flat seven. And now I'd say no. E flat, let me show you a little trick that you could do right here. To see how I could add in that E flat in here. So I could put an E flat and then to an E natural, right and make those eighth notes. So 12:32 D flat now so I'm going to go back to the I personally think the C sounds better than going down to G flat. We see how one thing I can get in here is alright, well, the D flat didn't work the G flat from my ears didn't work. But this E flat seven I can get this to work most definitely by changing. 13:08 I can get that E flat seven to work. I just have to kind of tweak the melody a little bit. Right. So sometimes you have to do that sometimes you have to use your ears on this stuff. All right, last example my funny Valentine. All right. So this is from the kind of the bridge of my funny Valentine. 13:36 Right and again, all of these standards are found back at jazz edge calm. Alright, so. 13:52 So now what can we replace? Again, let's go through and find all our dominance, right? So get all of these dominant chords, and then let's see if we can start to replace them. Right. So now we move down. Let me show you what I did here. Right now, the a seven. Let's talk about that for a second. This is where you also want to start to see when a chord is already a tritone substitution. Do you see how the a seven is already a tritone substitution is resolving down a half step. Okay. So if it's resolving down a half step like that, then I'm already getting that tritone substitution chord sound so where could I go from the A, I couldn't got an E flat seven. Okay, so if I wanted to, I could change it to go to E flat seven. And then that's what the original was right? So I still kept it as a. So what I did here is I changed the G seven to a D flat and I changed this G seven to a D flat and I also added in this chord in here. Let's play it and let's play around with it. 15:02 D minor seven, flat five, and then we had the D flat seven. Again, that melody note right here is what? Right? You can't see what it is. It's a D minor, D flat, it's going to be your flat nine on a D flat seven chord. Again, not the best chord or not the best melody note to try and harmonize. So I would say, Get rid of the D flat, keep it as G seven to put a G underneath there and make it a G seven chord. Right now what about the D flat seven chord here? So the E flat right? That the D flat seven sounds fine. But wait a second. Oh, Willie, It then goes to a flat nine, right there. Yes, but the flat nine is not hitting with the chord, the flat nine hits. After the chord hits the chord hits on beat three. This flat nine happens on beat four. Okay, so it softens it up a bit. So all right. All right. So you can feel that it softens it up here. So it's not so bad. If the D natural hit on the on the court, right? And that's so great. Okay, so here's an example of like, okay, yeah, that D flat seven. Yeah, it works. It works with the melody, the B seven, how did I get to the B seven? Well, I know that to get that B flat, I would normally want what? dominant chord, right? f seven would take me to B flat, B flat minor. Okay? Remember, you have to know your dominant motion. So go back and take a look at your the dominant motion podcast episode. If you don't understand dominant motion, you got to get that down before you can understand tritone substitutions. Alright, so f, right? What's the tripod away from F p seven. So rather than playing f seven, I play p seven. So I have 17:22 an A D minor, the D flat with the flat nine. You know, if I did natural nine, then flat nine, then I went to the melody Yeah, I could probably get away with that. See, I can soften that up a little bit if I really want that D flat seven chord in there. But instead, I think, get the g7. Right, and then move on from there. All right. So this still affords us a couple of little alterations in here, right, some nice stuff in there to change around. And I remember to the a seven, I could also try to change that to an E flat seven if I wanted to and see how that sounds. So 18:11 the flat seven sounds nice. Okay, so I can have fun with this. And I can play around and move between the triad tone and the dominant, the triad tone and the dominant. Okay. Alright, so remember, if you want to grab the sheet music for this, just go back to jazz edge, comm slash try tone, or you can also just take a look at that card that popped up in the right hand side of this video. I also wanted to let you know that all of these podcast episodes are available as a playlist on my channel. So if you want to go back and take a look at that dominant motion podcast and all of that, take a look at the jazz channel on YouTube. And of course, please subscribe to the channel. Like the video turn on notifications that way, you know, when I'm, you know doing new videos. If you like these daily jazz piano lessons, right? If you haven't checked it out already, check out jazz piano that's daily jazz piano lessons absolutely free, right. So you can you know, get free daily jazz piano lessons if you'd like the stuff that I'm putting out here, right? If you want that music once again, just go back to jazz edge. COMM slash try tone. And then if you like this, like what we're talking about here. If you have questions, write it in the comments. Okay, so check out the comments right in the comments. What questions do you have about try tones? Because I will take those questions and I might make a new podcast episode out of that, right? Remember, check out the confident improviser podcast. You can find it anywhere that you listen to podcasts, so be sure to check out the podcast. I'll also put a link in the description to the podcast. Alright, that's it for me guys. Thanks for joining me and I'll see you in the next podcast episode.

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