You said something that finally clicked in my mind- 6 pairs of tri tones, servicing the 12 dominant chords. That’s 2 dominant chords per tri tone interval, interchangeable. That easy. I’ve been playing since’66, studied for 19 years including 3 years of jazz. My jazz teacher never called it a tri tone substitution, just a minor 2nd dominant above you target chord sliding down. I’ve been searching for the meaning and uses for 40 years, all the other videos and explanations led me to believe it was something so far above my head. Turns out I’ve been doing it all along. Thanks, I can sleep tonight!

Demystifying tritones. One area of jazz that always seemed to me to be shrouded in fog. Suddenly the fog has cleared and as the song says “I can see clearly now”. Thanks Shan. Brilliant lesson!

What an epiphany I just had. Thank you so much!

It’s like my phone heard me talking about this and the KZfaq/google algorithm went to work and alerted you to make this perfect video … I could’ve learned and applied this 25 years ago had it been explained like this…. Your videos have connected so many dots for over just a few weeks are has literally transformed my sound … Thank you !! My guy !!

I have ruminated several You Tube tutorials about this puzzling topic. Your explanation has been the clearest and easiest to follow. Kudos!

brilliant teaching style. explanation made simple. thanks you.

Thanks, Shan - you sure give a lot in your KZfaqs. I recently discovered your channel and I am enjoying your approach. For instance, I have been using tri-tone subs for years, but still found this interesting. You make the theory very practical (and interesting).

4:15 well explained! Never thought about it like that! Makes it real easy!

You did it again!!!! ITS ABOUT The DESTINATION!!!! Omg! Buddy - I have watched Aime, marigold, even Hewitt and Jonny! No one made it simple. You are the most “effective and unique” maestro on the web. Oliver P. Is Unique - not (for me) effective. But what a soul that man has. Still playing with that 6/dim scale - that one needs lots of practice. You rock. I hope you spirits are lightening. So sorry about the loss.

Nice to see you, Shan!! great explanation again.. Thank you very much 😄

Tritones demystified 👏🏽👏🏽👏🏽👏🏽👏🏽👏🏽👏🏽

This is fascinating! Great job!

Guitarist here - thank you for this, just at the right level and importantly had some real examples of applying it in practice.

Great! Thank you!

.... and there was light , thank you Shan... Muchas gracias!

The half step above trick is way easier 😂🎉

Could you also go up to the flat 2 from the tonic? Ie, C tonic up to Db?sorry, I texted too soon

Db7 has a Cb as it's 7th, Db F Ab B is a German augmented sixth chord. B is the leading tone of C major, not Cb. Cb as a tendency tone wants to pull down to Bb. This could make Db7 resolve down to C7, but my question is, can you use a tritone sub AND avoid parallel fifths? Db7 to G7 to C makes more sense to me with the Cb note in Db7 rising a Pythagorean comma to B, then resolving a diatonic semitone up to C. The voice leading seems easier as well in avoiding parallel fifths. Db7 to C7 is a bluesy sound. Is there a way to resolve Db7 to C (triad), or should that always rather be considered and written, and tuned (if possible) as an augmented sixth chord? Or is the Db note moving down to C a sort of Phrygian type leading tone above the tonic lowering to C by a diatonic semitone, and the Cb moving up to C (a chromatic semitone) is merely incidental, as in the leading tone of the Db7 to C chord is the Db note leading down to C. The thing that has confused me so much about the tritone sub, is I sort of like the sound of the parallel fifths in them, BUT I do want to know if they can be avoided without omitting the fifth of the chord.

I find the tri- tone very settling.

What is the rythm played at 8:30 ? I can't figure it out.

I don't know how to use it .

VI7 ? Is that representing V/V?