Mr. Hewitt, the only thing I knew about the tritone subs was just about the first part of this video…and I thought THAT’S ALL THERE IS TO IT!!! …B-U-T, as you further explained how magical these things really are, it’s a totally new flame to me and couldn’t wait to sit on the piano to try it out…and believe me, I AM HAVING A BALL!!! I just wanna thank you for your passion and energy to teach us not so young kids these things. You’re a godsend man!!! ❤

You are a blessing ! Where have you been the last 53 years of my life ?! ❤ 🥰🙉🙈☺️🎹

That’s a masterwork on the TT substitute! Thx Kent!

Man, Kent, I went to see an excellent jazz quintet this afternoon and thought I'd share. Piano player was Purnell Steen, and at 82 he was the second oldest guy on stage. He's the cousin of Charles Burrell (102!) who has contributed a lot to the Denver jazz history here. Steen is also cousin to Diane Reeves and Eddie Vinson. The trumpet player, Greg Gisbert, had just returned from playing with Wynton Marsalis in NY, and the bassist, Gonzalo Teppa, has been Grammy nominated. All the guys in the band were great, but Steen, Teppa, and Gisbert really shined. They played only jazz standards from Jobim, Ellington, Rodgers and Hart, Hoagy Carmichael, and others you've probably played a million times. Beautiful renditions of Twilight World, Blue Bossa, The Nearness of You, and On Green Dolphin Street as well. We got there early enough to have a table right in front of the stage. And it included lunch! What a great show.

"Did I lose you on that?" No. A few years ago, yeah you would have lost me. Not any more! Now this stuff is pretty straightforward for me. So if anyone finds this confusing, take it from me, a well-known halfwit. If I can learn it, so can you! What seems confusing now becomes child's play in its simplicity with practice and experience.

Thanks Kent. I finally understand tritone substitution! Very well explained, im going to try it on Autumn leaves today

Thank you Kent, you’re a cool cat.

Another great tutorial! 🎹👍

Discovering the secrets of great Jazz sound Thank's so much for that Kent !

TASTY substitutions!! 😄 🎵🎶 Bravo, KH!

Hi Kent! You've helped me tremendously with your videos. I would love to see you cover 'Myself When I Am Real' by Charles Mingus. He's not a piano player but this 'improvised' piano piece is among my favorites and I can't seem to wrap my head around it... Keep it up!

It's taken so much study (mostly your essential book and videos) to just get to a point for me to understand what you're explaining. As always you show these advanced ideas in use. The genius is in playing wonderful music whilst thinking or talking it theoretically. Your must have had many fascinating meeting of similar minds over the years on the circuit. Thankyou for your continued generous enlightenment Kent

Dear Kent! kzfaq.info/get/bejne/f9uBetWKxpeUfmQ.html at 1:24:00 a Bill Evans i.a.s.w. Thelonious Monk's butterfly: Pannonica: in this composition "the wink of an Eye," said enough is this guitarist who did arrngement not able to play guitar anymore, but his arrengement of a Modern Jazz Quartet, I find it interesting in the romantic-Jazz aspect, such as Bill Evans and the Tristan, maybe Golson compositions...the Ebmaj7#11 Bbmaj7#11 Abmaj7@11, Dbmaj7+12 #4 is interesting in my modest opinion..Why? the meleody is just like D "E"("Queerstance"i n classical music a litteral citate of Pannonica in the right key even and than made a sequence in the baroque way...a 5th lower... C "D'' E(+5) F(Dbmaj7+5... please enjoy....Miles Miilenkovicz

please make a tutorial for the song caravan-Michel Petrucciani style

theory behind m7 tritone subs without upper extensions? From what I gather, theres only one shared common tone. ie Fm7 (F Ab C Eb) and B7 (B Eb Gb A).

I really would like this to be more clear and structured. It's as if the structure of the explanation wasn't thought through at all, it's just a stream of knowledge. I assume it's all correct, but it's very chaotic. I didn't make it to the end, and I was interested in the explanation. Sorry. I feel like this should be recorded again. - Good tritone explanation. Thumbs up. - Unnecessary long intro including multiple references to different concepts (and trivia) that won't come up for a little while or are not necessary to get to the point; - which is what IS a tritone substitution. That's the worst part. You literally glanced over it and jumped right into comparing the substitute to the dominant, even showing the notes inheritance. First, formulate what it is and how to build it, then play some progressions to show the expected effect, and then we can move on to trivia about chromatic scales and nitty gritty of tonal/functional similarities to a dominant. - Defining the tritone at the start is very helpful to a novice, but then literally spamming with very fast f7b9, calling them their full names, switching the pace from entertaining light philosophy to a theory paper is very much not beginner friendly. That's how people start thinking they don't belong if they don't know all this. And that's pretty much the bottom line. What's the target level of people watching? And don't say everybody, that just won't work at all. Complete beginners? Tone it down with the b9s, add clear notations, give a chance to build the chord at all, give more audial examples, show the role of the progressions in music in general. A bit more advanced crowd? Then drop the 2 minute explanation of a tritone, for one thing. Want to show off the heavy stuff, but while appealing to beginners? Then put explanations in a clear progression, section them, so people can "level up" through it, reference it later. This is a tritone, this is the substitution, this is how it functions; these are its curious forms, these are practical applications I like - and then whatever, the fish in the water stuff that you'd like. Once again, sorry. It felt like a mishmash.