So glad you did not bring up the diabolus in musica nonsense :) When you said " for the longest time in music theory..." I cringed in anticipation for it. But you did not disappoint!
I love the framing of tritones as corners we're turning. That makes so much sense. I'm trying to integrate Bartok's axis theory with Barry Harris's notion that you can substitute not only the tritone substitution, but the minor 3 and 6th dominant chords (e.g., C7 can be substituted with Eflat7, Gflat7 or A7). They all share the same diminished chords, which also raises the octatonic scale. Rich veins to mine!
I'd just like to point out, I've gotten back into writing & recording for metal/progressive guitar. It's been about 10 years since I last recorded and played seriously, and with videos like this one, I feel empowered to embrace chord structures that I haven't necessarily liked in the past. I haven't realized the power of dominant chords in these ways before, and the possibilities are exciting, so thank you for this video! It's very helpful and I look forward to picking up on more!
It's both challenging and fun, finding these tri-tones on guitar, and finding ways that I've already been using them. Fascinating. Looking forward to more.
Well done. Your bedside manner (as it were) is gentle and unimposing. And the info you deliver is clear, concise, and accurate. And, probably most importantly, you make it enticing. Some of my own supercilious theory teachers and TAs from my formative years could have taken a lesson from your approach. I’m currently teaching an older student how to play from lead sheets and I’m reminded from your ways that theory can be imposing and it’s very helpful if the teacher isn’t. 😊
it's intrinsically confusing, i think. the 1/2 diminished chord nearly always appears as a ii chord in a minor system. its role in the major sonority is less important. you can imagine it as the top 4 notes of a V9 chord, heading home to a I major.
One observation I’ve made about the tritone is, it’s at the point in the circle of fifths where no matter which direction you go, one of those two notes will be flatted or sharped in the very next point of the circle of fifths. In the C major example, if you go to the left, B is flatted. If you go, right, F gets shaped. There is no other key in which both B and F exist except of course the relative minor of A minor. The tritone of G major, (and E minor) is F# - C. Same rule, go one step to the left, and the F sharp becomes F natural again, go one step to the right, C becomes C#. G major (and E minor) are the only keys where you get an F# and a C together.
Hi Chris. You helped me out last time with my Halloween song, and now that I'm busy writing a Lofi Christmas song, you are helping me again (it's almost as though you are becoming my muse - lol). The chord progression I'm using now ends with the F going to a plain old G - very safe (and boring) and it doesn't have any spice. And let's face it, Christmas is all about the spice! Anyway, replacing the G with the Fm6 just gave it what it needed. Thank you so much! I love your videos!
I am not nearly skilled enough to manipulate chords as you do and though the feeling of resolution is there when I find it there is often a lot of bumbling around on the way. Rather than useful, this left me wanting to hear these conjunctions but also to look out for those things in my listening.
Thanks Chris, so many good ideas here beyond what I hitherto understood of tritones (not a lot). The Secondary Dominant C - E7 - Am has a lovely Gospel tone that I immediately identified with Paul Weller's 'Wings of Speed'. On hearing the Mystic chord I thought of the Octatonic (which you've also taught in the past)... and then it clicked that this has two tritones! The minor 6th has a beautiful yearning sound that is surprisingly 'soft' to my ears for a tritone - implying that it won't resolve as readily... and from that, I found that Fm6 pleasingly resolves to either C or Am. It's all got a bit too soppy for me though ;-) Lastly, in one of your examples I identified one of my own songs in which I play a Cdim with D in the bass which resolves to Gm9... why? Because I think (and might be wrong here) that Cdim is also Gb dim... which really, really wants to resolve to G! Another example of where you've helped me to 'validate' my own reverse-engineered music... ;-)
Subscribed months ago after 1st video. Quality content. Last 2 videos......turn down the white light a tad. I thought I was my TV but I'm pretty sure you got a new light. Love your videos thanks again.
Hi Implied Music. Unfortunately it really starts getting me slightly crazy not knowing what kind of software you use to display the notes and chords on the bottom of the screen. Can you please tell me the name of it, please, crossing fingers for an answer.
Oh I see, thank you very much for answering my question and keep it up Looking forward for more even though there's already material enough for many many years of study and practice :).@@ImpliedMusic
Your discussion of tritones and also the Prometheus chord are very inspiring. Did you already discuss theirs links to wholetone music? If not, this might be an idea for a new video, IMO.
you got it. but it's better if the Db is Db7. it works because the notes B&F (a tritone) are common to both chords. hence the name "tritone substitution."
I can't be the 1st one to wish they'd come up with a better name: "tri- tone"?? Only TWO tones but thankfully i think i heard you explain that there are 3 whole steps between the notes. And i guess "Bi- tone" sounds too weird!
So glad you did not bring up the diabolus in musica nonsense :) When you said " for the longest time in music theory..." I cringed in anticipation for it. But you did not disappoint!
So glad that’s been thoroughly debunked.
I love the framing of tritones as corners we're turning. That makes so much sense.
I'm trying to integrate Bartok's axis theory with Barry Harris's notion that you can substitute not only the tritone substitution, but the minor 3 and 6th dominant chords (e.g., C7 can be substituted with Eflat7, Gflat7 or A7). They all share the same diminished chords, which also raises the octatonic scale.
Rich veins to mine!
I'd just like to point out, I've gotten back into writing & recording for metal/progressive guitar. It's been about 10 years since I last recorded and played seriously, and with videos like this one, I feel empowered to embrace chord structures that I haven't necessarily liked in the past. I haven't realized the power of dominant chords in these ways before, and the possibilities are exciting, so thank you for this video! It's very helpful and I look forward to picking up on more!
these visuals are fantastic!!!
Come on! This was excellent! Been rehersing The Christmas song for the Christmas party and it's full of those tritones. Now I understood why :)
It's both challenging and fun, finding these tri-tones on guitar, and finding ways that I've already been using them. Fascinating. Looking forward to more.
🤯 Mind-expanding topic! Rest assured, my eyes never roll up in the back of my head in this channel. Thanks!
😆thank you!
Well done. Your bedside manner (as it were) is gentle and unimposing. And the info you deliver is clear, concise, and accurate. And, probably most importantly, you make it enticing. Some of my own supercilious theory teachers and TAs from my formative years could have taken a lesson from your approach. I’m currently teaching an older student how to play from lead sheets and I’m reminded from your ways that theory can be imposing and it’s very helpful if the teacher isn’t. 😊
I spend a lot of time with young students
Subscribed. I'm going to watch this video again in the near future. You explained this in a way that kept me intrigued. Great video.
Awesome, thank you!
Brilliant stuff Sir! You got yourself a happy subscriber here.
This should be the way music is explained, in meaningful context....
Thanks
@@zoaltamam thanks, that means a lot
Wow, great video! So many interesting concepts here!
This may be your best video so far.
Keep up the good work! 😊
Thank you! Will do!
Very, very Good! This is easy enough to follow! Well done!
Thanks a lot!
Great video 🎉 just wish you explained the half dim chord with c major scale I kinda found it confusing
it's intrinsically confusing, i think. the 1/2 diminished chord nearly always appears as a ii chord in a minor system. its role in the major sonority is less important. you can imagine it as the top 4 notes of a V9 chord, heading home to a I major.
One observation I’ve made about the tritone is, it’s at the point in the circle of fifths where no matter which direction you go, one of those two notes will be flatted or sharped in the very next point of the circle of fifths.
In the C major example, if you go to the left, B is flatted. If you go, right, F gets shaped. There is no other key in which both B and F exist except of course the relative minor of A minor.
The tritone of G major, (and E minor) is F# - C. Same rule, go one step to the left, and the F sharp becomes F natural again, go one step to the right, C becomes C#. G major (and E minor) are the only keys where you get an F# and a C together.
Incredibly useful content. Thank you!
You're very welcome!
Such interesting content Chris. Keep it up!
More to come!
Welp, I liked how you presented this and enjoyed hearing you explain it. I'm subscribed
Welcome aboard!
Amazing video you are a legend
Hi Chris. You helped me out last time with my Halloween song, and now that I'm busy writing a Lofi Christmas song, you are helping me again (it's almost as though you are becoming my muse - lol). The chord progression I'm using now ends with the F going to a plain old G - very safe (and boring) and it doesn't have any spice. And let's face it, Christmas is all about the spice! Anyway, replacing the G with the Fm6 just gave it what it needed. Thank you so much! I love your videos!
it is, after all, the Christmas chord. yay.
I am not nearly skilled enough to manipulate chords as you do and though the feeling of resolution is there when I find it there is often a lot of bumbling around on the way.
Rather than useful, this left me wanting to hear these conjunctions but also to look out for those things in my listening.
Thanks Chris, so many good ideas here beyond what I hitherto understood of tritones (not a lot). The Secondary Dominant C - E7 - Am has a lovely Gospel tone that I immediately identified with Paul Weller's 'Wings of Speed'. On hearing the Mystic chord I thought of the Octatonic (which you've also taught in the past)... and then it clicked that this has two tritones!
The minor 6th has a beautiful yearning sound that is surprisingly 'soft' to my ears for a tritone - implying that it won't resolve as readily... and from that, I found that Fm6 pleasingly resolves to either C or Am. It's all got a bit too soppy for me though ;-)
Lastly, in one of your examples I identified one of my own songs in which I play a Cdim with D in the bass which resolves to Gm9... why? Because I think (and might be wrong here) that Cdim is also Gb dim... which really, really wants to resolve to G! Another example of where you've helped me to 'validate' my own reverse-engineered music... ;-)
exactly. i'll add that the Cdim with a D bass is a jazz Dominant... D7b9. so yeah, V-I.
Subscribed months ago after 1st video. Quality content. Last 2 videos......turn down the white light a tad. I thought I was my TV but I'm pretty sure you got a new light. Love your videos thanks again.
yes, thanks for the lighting note, and thanks for all the support!
Hi Implied Music. Unfortunately it really starts getting me slightly crazy not knowing what kind of software you use to display the notes and chords on the bottom of the screen. Can you please tell me the name of it, please, crossing fingers for an answer.
It’s the “Chordie” app, running at the same time as Logic.
Oh I see, thank you very much for answering my question and keep it up Looking forward for more even though there's already material enough for many many years of study and practice :).@@ImpliedMusic
Your discussion of tritones and also the Prometheus chord are very inspiring. Did you already discuss theirs links to wholetone music? If not, this might be an idea for a new video, IMO.
Great idea
like your channel brother.
I use the Tritone sub whereby I substitute the dominant of the 2-5-1 progression with dominant that’s a tritone away.
So in C you would have Dm-G-C, you would instead do Dm-Db-C?
you got it. but it's better if the Db is Db7. it works because the notes B&F (a tritone) are common to both chords. hence the name "tritone substitution."
@@ImpliedMusic Thanks!
although I don't listen to a lot of classical music I believe that Wagner used tritones almost profligately.
Yes!
What is the app you use that auto recognises chords you are playing in midi?
hi, 'chordie'. sort of great, sometimes irritating. works with MIDI, of course. has a fretboard layout too.
I can't be the 1st one to wish they'd come up with a better name: "tri- tone"?? Only TWO tones but thankfully i think i heard you explain that there are 3 whole steps between the notes. And i guess "Bi- tone" sounds too weird!
this info is priceless...I'm starting to wonder who you really are🤣
what you see is what you get.
💙