How to Spice Up Your Jazz Improv With Tritone Subs

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6 жыл бұрын

Jazz musicians are notorious for taking already complex harmonic structures and making them more complex. Gotta love these guys.
One common chord substitution that is used is called the Tritone Sub. It's a common technique that you should know how to implement.
In this video I go over 3 different ways you can use Tritone Subs over different chord progressions. Time to practice!
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Пікірлер: 21

@paulgrunden5401 6 жыл бұрын

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.

@DanishKhan-zd7ky 3 жыл бұрын

Very nice 👍 more lessons like this plz

@chebstar 6 жыл бұрын

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!!! :)

@MrHestichs 6 жыл бұрын

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.

@tastybassy8135 6 жыл бұрын

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.

@Khangaroo-qr9gn 3 жыл бұрын

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.

@ziemowitmiszczobrocki1178 4 жыл бұрын

thx

@benmalone6139 5 жыл бұрын

Good man great stuff thanks.

@Learnjazzstandards 5 жыл бұрын

Thanks Ben!

@obus4186 Жыл бұрын

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.

@lalas147 6 жыл бұрын

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.

@Datanditto 3 жыл бұрын

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

@gufra9835 4 жыл бұрын

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

@donngoodside6885 6 жыл бұрын

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/