Tritone Substitution Is a Really Great Hack
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- Опубліковано 2 чер 2024
- Tritone substitution is a great way to create some surprising outside sounds in a Jazz solo or arrangement, and it is certainly something you want to have in your toolbox.
In this video, I am going to go over what it is and talk about it using a little music theory but also using a visual approach that works really well for guitar, and I will also talk about how tritone substitution will open up another related sound in Jazz: The Altered dominant and especially how to play solos over it, something that can be very difficult to learn, but which tritone substitution gives you tons of ideas for.
More videos on Tritone Substitution:
• Minor II V I options -...
More videos on Altered Scale:
• Altered Scale in three...
Get the PDF:
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Content:
0:00 Intro
0:48 What is Tritone Substitution?
2:37 Tritone Subs in Chord Progressions
3:24 What Scale and Arpeggios Can You Use?
4:02 The Best Arpeggios!
6:40 That Really Looks Like Another Chord?
8:05 Turning it into G altered lines
10:01 How To Practice This and use the Hack
10:35 Like the video? Check out my Patreon page!
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My name is Jens Larsen, Danish Jazz Guitarist, and Educator. The videos on this channel will help you explore and enjoy Jazz. Some of it is how to play jazz guitar, but other videos are more on Music Theory like Jazz Chords or advice on how to practice and learn Jazz, on guitar or any other instrument.
The videos are mostly jazz guitar lessons, but also music theory, analysis of songs and videos on jazz guitars.
If you like this video and want to help translate it into your own language you can do so here: ua-cam.com/users/timedtext_vide...
Edited by Luciano Poli
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Honestly this is one of the best channels. So concise. So convenient.
Thank you! :)
Yes it frankly the best, amongst a lot of great tutors.
To me it IS the best jazz guitar channel by a mile, and Jens keeps improving his lessons which at this point borders on the unbelievable.
Seconded. I'm very comfortable with triadic chords so these are very easy to follow and my head just explodes with ideas. I'm mostly a classical guitarist but this stuff is captivating. Thank you so very much Jens.
Agree
I hope you guys are ok in this difficult period, in good health and not too much stress. At least you can still practice Jazz Guitar :)
Content:
0:00 Intro
0:48 What is Tritone Substitution?
2:37 Tritone Subs in Chord Progressions
3:24 What Scale and Arpeggios Can You Use?
4:02 The Best Arpeggios!
6:40 That Really Looks Like Another Chord?
8:05 Turning it into G altered lines
10:01 How To Practice This and use the Hack
10:35 Like the video? Check out my Patreon page!
I'm practicing more than I normally do now!!
Jo tak, der er god tid til øvning. Jeg er MEGET glad for mit patreon-medlemskab, og vil bare spørge om en lille ting. I løbet af dine youtube-videoer kommer der ofte tekst op med information, der understøtter det, du taler om, og nogle gange i form af små instruktive "vinduer". Er det muligt at knytte de vigtigste af dem til de pdf'er du vedhæfter? Mange hilsner Kjeld Paulsen
Yea, sad to say this lockdown is ok for us guitarists.
Tusind tak! Kjeld, det er rigtigt dejligt at høre!! Jeg laver af og til PDF udfra de ting der er i videoerne, men det er ret arbejdskrævende så jeg tror ikke jeg kan gøre det for tit desværre.
Can you make a tutorial on how to start playing jazz full lesson?? It may big help for me 🙇
Tritones are something everyone I believe should get to eventually, they open up many more doors to licks and tricks on the soloing! Cheers man, and hope you are safe during these tough times!
Thanks RC! You too!
@@JensLarsen Thank you!
Such a brilliant way to get the altered scale on the dominant chord sounding great.
Thank you! I am glad you found it useful! 👍
This is the first explanation I've seen of how to get the jazz sound in a solo! Thank you! I'm a rock lead guitarist, and jazz has always been a mystery to me.
Great that it is useful 🙂
me too this is making my blues jazzy TIP: also look up Triad Pairs these also help you sound jazzy
@@Bflatest Wow, I never heard of triad pairs! Thanks a bunch! That's really helpful. Looking into it.
thank you very much Jens, exceptional teaching!
Glad you liked it!
Thanks for sharing your knowledge ❤️
You're very welcome! I am glad you like it! 🙂
Very exciting ! So colorful ! Thank you Jens.
Thank you for this brilliant lesson Jens. You are making the world a more beautiful place through the music you share.
Jens is a fabulous teacher. He consistently breaks down tricky subjects and makes them usable. One of the best instructors on UA-cam hands down. Definitely one of the best exports from Denmark since Connie Nielsen. If you don't know who she is, look her up. Word.
You made an important point that I relate to strongly, that the melodic minor by itself leads to formless solo material. But by providing the notes between the notes of the tritone sub makes the scale more useful. Thanks again!
Yes, I guess that is true for any scale, not having any focus or melody will be no good 🙂
you're amazing, jens!
Thank you 🙂
Jens, awesome lesson buddy. Thank you so much, this is right on time with where I'm at in incorporating a more conscious imparting of arpeggios especially in the 3rd and with more exotic modes. Good stuff man, you'd be great to study under. Much appreciated
Thank you Lars. Great Video, as always. Greetings Tom
Glad you enjoyed it
Brilliant lesson Jens , many thanks 🙏
Glad you like it 🙂 👍
Such a great educational video! The The upper structure substitutions of the 2-5-1 leading to a IVmaj7 and then the IV-7b5 resolving to tonic is something I have heard Charlie Parker do and been trying to figure out because it’s so beautiful. Now it makes more sense. Thank you!
Amazing lesson! Thanks so much
Thank you! Glad you like it!
I couldn't have asked for more. Thanks, Jens. This is super useful. Exactly what I was looking for.
Great! Glad you like the video 🙂
Excellent lesson Jens
Glad you liked it!
Really well explained. Excellent lesson!
You're very welcome 🙂
Great breakdown thank you 🙏 🎸🎶
Awesome lesson Jens! Again, it fits right in with what I'm practicing at the moment, thanks :)
That's great Simon 🙂
You are awesome man this is so helpful I cant believe this knowledge is available to the public
Great job, many thanks.
Glad you like it!
Thanks so much, Jens! So much to chew on.
You are very welcome Scott 🙂
Very informative! I’ve always heard these chord movements but always thought of them as just chromatic tension passing chords... Thank you for the clear and thorough explanation of what I was actually hearing!
Glad you found it useful, Jarrett.
Thank you,well explained.
Glad it was helpful!
Great lesson sir, very informative 👌👌
Glad you liked it
This is a great channel indeed.Thanks Jens for the videos, they are very helpful. I like to know if you have any information on diminished scales. Thank you again, and I hope everyone is safe in this very difficult times. Cheers!!
Hi Jens, you are the only teacher who is putting so much emphasis on all the possibilitie's of meldoic Minor like Bmaj#11 on Db7 Thank You for that!
My pleasure!
I will try this! Thanks!
Go for it 🙂
Excellent thank you kindly as this is very enlightening!
You're very welcome
Just bought your modern jazz guitar cocepts book. Worth read and spend this difficult time having some inspiration 😇
And thank you so much for the videos, it's really helping people 💙
You're very welcome! I hope you find something you can use in the book!
If you have a few minutes then consider leaving a short review on Amazon that really helps me 🙂
@@JensLarsen will do after a while 🤘🤘🤘
great video as usual
Thank you 🙂
Excellent vid thanks 😎🎷👍🏻
Glad you like it 🙂
Jens Larsen, the best teacher I ever encountered! Says me! Thanks for all your great and useful lessons.
thank you!
Sir, i every day i learn form your lesson. These are amazing.. I am that kind of guitar student, who wanted to know theories behind every sound... so i get lot more information form you videos !! Thank you sir for these amazing lessons ♥️♥️!!
You're very welcome! I am glad you like it! 🙂
Thank you, thank you, thank you.
You are very welcome
Thank you very much!
You're very welcome! I am glad you like it! 🙂
Great video. I've enjoyed spending the past hour playing through the examples at - to use Ben Eller's term - stepdad speed.
Ben rules! 😁 Go for it 👍
Your lessons really help me, you are a great teacher. I’m 72 playing since I’m 16. Thank you so much
Thank you, very much Carle! Glad you like them!
Wow! That was a handful. I’ve been using those Tritone chords comping for years. I just liked the chromaticism, never really knew the theory.
Thanks. Now I’ve got to work on the soloing part. That should take a year or two....or more.
It's easier than you think, just give it a try :)
Amazing thank you
Great lessons do kee[ up the great work you are doing ......
Thank you, Sean!
your welcome...
Hi Jens - Thanks - it's still a bit complex for me but the pleasure is present
It isn't that difficult André. Try it out :)
@@JensLarsen
I am working on "Stella by starlight " i have I Real pro appli but there is a copyright on the themes. So I take my Real Book in paper to learn them...and listen them via UA-cam...
cool...have a nice evening....thanks Jens...Wahouuu i just listened Miles playing "Stella..." he has transcended the melody...it is so beautiful, one can hear his blow in his trumpet just before the sound of a note played !!!!!! i followed it via Real Book paperwrite...something new is happening insiste me, something which was latent and waiting the right time to be felt !!!!! EXTRAORDINARY SENSATION !!!!!!!
and I m not crazy freak youyoutubian, I just "feel " that emotion deep insiste of my inner self !!!!
I just come to remember : in 1992 I had jazz lessons with a "teacher", I did not know how to read, he never teached me triad concept to start improvising and I was working on "Stella...". I understood absolutly nothing about what he was saying to me and I was so respectull to jazz that i was very shy and did not dare playing ...this complete asshole was screaming on me...it was horrible...i stopped learning jazz from that moment.
Now i feel different and maybe he simply did not understand me as i did not understand him....now i feel ready and an urge to learn jazz and all I studied is strangely coming back to me now....after so many years...greeeeaaaat viiibes !!!!!
you are good and you are right ! i play altered scale on the 7 !
Thank you 🙂
Awesome
Amazing Guitar Jens Regarts
Glad you like it!
Another amazing video! Thank you, Jens!
Do you think there is anything against using the remaining three arpeggios in the altered/lydian dominant scale, i.e. playing a Gm7b5, Bbm7 or Eb7 arpeggio against Db7#11 or G7 alt? To my ears, those are also useful sounds. Are they regarded as more exotic choices than the four arpeggios built on the chord tones of Db7?
Mark Levine in his Jazz Theory Book, for instance, arrives at the conclusion that all chords constructed from the melodic minor scale are essentially the SAME chord (and are therefore interchangeable). As far as my ears can tell, I see an element of truth in that claim.
Thank you! If you can make great sounds with the other arpeggios then that's fine too. They do sound less like the actual chord in many contexts, and that may or may not be a problem :)
In music, conext is everything
Great treatment of the subject! Even though tri-tone substitution is a useful concept for playing 'out' I find it confusing when Bflat7 is used in a chart when it's actually FUNCTIONING as an E7. Also, great lines on the ii7 chord,Jens!! Talk about them sometime!
Thank you Larry,. I actually have a lot of videos on m7 lines 🙂
excellent!!!!
Thank you 🙂
Thanks
Thank you very much! I really appreciate the support.
so thats why its called lydian dominant thanks for this =)
Glad you find it useful 🙂
Your lesson are great ,often feel like I’m late for class , where would be a better lesson you have for a slower learner?
In more normal times, do you do gigs in the UK? I'd love to see (and listen!) to you live.
Thanks, David! I haven't played in the UK, it is really difficult for us to get something over there that makes the trip worthwhile.
@@JensLarsen Maybe in the Netherlands some time then.
@@DavidThorpeMFT That would be great :)
What is interesting here is that we are playing material contextualised from the Db7 yet the audience will be hearing more of an altered G7 sound. Don't these altered tensions notes sounds lovely!
Hello Jens...well...what can we say ?...what can we play in this absolute science fiction reality ???? Maybe just sharing through musik expression. Since the beginning of the confinement i feel and it is weird but really much more focused on practicing than before the confinement. Many musicians of any level say also that on Web so i am relaxed about this inner mouvement appearing in me. I am not going crazy !!!! Lol.
Your vidéos are so interesting (there is theory and auditive approach...fantastic !!!!) That i have a note book that i named " the pink real book" (the cover is pink) in which i note everything i find, discover by myself or through vidéos about jazz and, Jens, it is crazy i wrote 2 pages of your vidéo about trito substitution !!!! ( i studied it in a jazz school in 1992 but i understood absolutly nothing !!!! It made me think of the name of a disease !!!! Lol) . So that i can work it after for it is i think, for an intermédiate jazz improvisor (I pretend nothing for i' m always constantly searching, learning) , impossible to "catch", memorize your vidéos ( context, concept, theory, harmony and the most important : AUDITION= what you explain, you play it and there is the score above so for non music reader or poor ones like me it is reeeeaaaallly helpfull). I stopped around 7 times this vidéo to have the time to take some notes of what you explain !!!!! FANTASTIC !!!! YOUR VIDEOS ARE CORONA MENTAL ARTISTIC REMEDY !!!!!!
Thanks Jens, now l' m really learning...I don' t know what saying...i' m spiritualy on the path of jazz impro and I feel good in my "blue suede shoes" I just walk forward along this extraordinary path covered by smooth "musical sand" !!!!! Lol
Take care Jens...I hope everything is o.k for you and your family....
Thanks again...Let' s "substitute " CORONA through art....
Jens, a point of confusion for me… if I am soloing and someone else is comping, and the chart calls for a dominant chord (say G7 or G9 - no alterations) can I use the altered scale even though the altered 5ths and altered 9ths in what I’m playing could be clashing with what the comper is playing? Or, should I only be playing the altered scale if the chart shows an altered dominant? THANKS!
That depends on what song you and style you are playing, but in general you can play altered even if it clashes, as long as it resolves. Some people prefer the clash even🙂
Thank You ! (That makes sense.) I have been playing guitar for many many years, but now I am focusing more than ever on playing jazz, and I owe you a great deal for helping me along the way. I wish you all the best!
Great lesson, the tritone subs it's a facinating topic for me, thanks Jens, you are the best.... Pdt. I tried to download the pdf of the lesson but the link it's broken
Thank you! The link seems to work fine now? 🙂
@@JensLarsen thank u maestro
I'm sure I'm just tired and misreading it but at 4.37 you have the Db7 arp with a G as the 5th, should it be Ab?
Well that wouldn't be the first time I made a mistake in the sheetmusic 🙂
Jens Larsen sorry! I'm locked down and over analysing. Great video this one, it really opens up some beautiful harmonies. Thanks!
@@petedavid9689 don't worry about it. I hope you make it through it all in good health
At around 4:37 the TAB for Db7 has a little mistake - it should be 4th fret on the 1st string (not the 3th). Hope this helps. Best wishes, MJ.
Thanks! Yes, I do often have a few mistakes in the sheet music :)
Thank you for such a detailed and concise video! Should you have time to reply, I had a quick question. I liked the sound of the Bmaj7(#5) over the Db7 but am a little lost on 'where it came from'. Wouldn't the appegio built off the 7th of Db in the key of Ab melodic minor produce a Bm7 arpeggio taken from B dorian flat 2 (second mode). I'm sure I've missed somthing obvious but any clarity would be great, I'm trying to peice back together half forgotten theory. Thanks again, it is not my intention to nit pick, just interested. Subscribed.
Thank you, glad you like it!
Ab melodic minor is Ab Bb Cb Db Eb F G Ab - so the arpeggio on Cb (or B) would be Cb Eb G Bb if you stack 3rds in the scale. There is no F# or A in Ab melodic minor, so it can't be Bm7.
Does that help?
Thank you for your reply and explanation Jens, really appreciate it! Your explanation did indeed help, I think there was some enharmonic confusion on my part (and perhaps a lack of coffee). Once I read your reply it all clicked back and I understand where you were getting the maj7(#5) from now. Thanks again for your help and reply, I look forward to getting stuck onto more of your vidios!
Hereby I want to mention that your other today's tutorial about Lady Bird, it would maybe interesting to instead use the Gb major scale, of course for beginners, that (as is clear, they're a lot of guitar players or piano players (like myself) looking to you channel and also learning from you while definitely not beginners!) so maybe it is interesting to have the following scale: Gb Ab A Bb Cb Db D Eb F Gb the interesting thing is that we could play it over both Db7(tritone sub) and over the G7 regular dominant why??? because the Ctriad is omitted so 9 tones of the 12 Great hé??? its emphasis are on every three tones and the last is the one who is repeated like this: Gb Ab A> ABbB >BDbD>DEbF>Gb resolving...the nice thing is that we don't use the root the altered scale does that I stress the fact that playing NOn-root as much as possible gives lots of opportunities....My wish is that this could be helpful for any guitarist that wants something beyond the Altered scale, and please let me know if you find some interesting patterns, I am always willing to learn new stuff! I studied the majb6 pentatonic pattern of Jens Larsen
thoroughly and I was having a piano lesson (New teacher) I did study one year without one) and the 2nd lesson I was able to use material of those licks I learned secretly form Jens lessons the result was very positive..on my playing, I had internalized it really I guess played it on all 12 keys and later checked my self if I could play t during one bar now I found reading written solo's that I used that very pattern a lot...!!! Thanks, Jens again!!!
I think b my V7 chord. The five of G is D. So Db. Almost All strings on the guitar are tuned to fourths. E to A to D to G and lastly B to E. If I'm on the G perfect fourth in standard tuning is to C below ..the b5 Db is a semitone up Easiest way yet is knowing them they the same forwards and backwards It works in blues as a dominant. But if I am doing a major seven I would resolve to C major7. Also the notes of G7 over the Db7 works backwards and forwards. Also the very best way way is to write things fown.I use a spiral notebook. Writing imp. things by hand helps to remember things. There are are 12 different
tritones..but actually there only six pairs to remember. Notice that
sec G thru is chromatic.
C Db D Eb E F
Gb G Ab A Bb B
Again wrong things down is a good way to remember things.
I am watching this video over several times. In case I'm missing something. Thanks
Really nice ! I here these in turnaround in Prima's'Basin St Blues' but originally i was trying to find out how/ why Oscar Peterson's 'Miss Jones' has a Bb7 as the second chord of the verse INSTEAD of the F#o7 in the Real Book's version ?
It is just a different way to harmonize that melody. Both work 🙂
@@JensLarsen so a 3rd above a half dim Is a standard way to harmonize? Thank you for the reply and the great lessons greetings from Seattle
@@j.p.fitting9226 a 3rd above a half dim?
I feel like there are too many gaps in my music knowledge. I understood the Tritone Substitution part but didn't quite understand the bit about arpeggios when you build off of the major/minor 3rd of the chord. How do you know what arpeggio to use?
Compare the notes in the arpeggios then it becomes fairly easy to understand 🙂
I ve been asking myself for a long time "what is this slighly off sound Parker doing often when going to the IV on a blues?" Could this be it?
Could very well be. I don't think he does that in the ones I know though :)
when u do the Db tritone over the Galt chord What chord number is it from the root melodic minor parent??? I want to know so I can try other MM triads too
Jens, what about drawing from D melodic minor for the Db7?
What would be the point, then you might as well play G7 :)
Hi Jens!
How about F# harmonic minor for Db7?
Its work?
It could, but you get closer to just playing a G7 then and the effect is a lot less strong 🙂
No one explains it better, always leader Jens Larsen
I've seen this progression recently in a version of Rhythm Changes. Bars 5-8. Two chords/bar. F-7, Bb7/ EbMaj7, Ab7/D-7, G7/ C-7, F7. I can't figure out where the Ab7 comes from in Bar 6. It doesn't belong to Eb, Bb or C keys...but there it is, sticking out like a sore thumb. It sounds fine. I just can't figure out where it came from or how it belongs. I thought it might be a tritone sub for D but it doesn't go to GMaj but to D-7. Can't figure it out. Any ideas?
It is a backdoor dominant in Bb. That is a minor subdominant. It is similar to Ebmaj Ebm6 Bb
@@JensLarsen Thank you very much. That's beyond my level of music theory right now. I would have never figured that out...at least not for a few years of music theory. Thanks. Well done.
Okay another thing, Ny statement is what I learned from my more advance piano-friends, maybe you could do something with that, as a remark on your statement about altered only possible on Dominants, okay of course theoretically, you're totally in line, but, when it comes to (piano) practice, on II V I in minor so IIm7b5, even, although one tone is then, of course, a bit dirty, and of course when altering the cord to a dominant, that is not what I mean, in cases where there is written IIm7b5 > V7 etc resolving to whatever for instance Autumn Leaves. it is really sounding refreshing just using altered dominant on both II & V, of course, A altered on Am7b5 and D7, I reviewed to Tony Winston, who at first denied, but immensely made a new video took the first one of very fast and gave this as an answer...maybe nice to have more options....Of course when you play guitar, and you have to deal with your bass layer & drummer, this is not the problem at all, but when you play with a pianist, you are always able to do such a thing, and most pianists will recognize what you're doing will laugh a little bit and next A2 they will go with you out there will immensely after to or three notes recognize it and play with you...if side slipping is theory(but dirty and naughty sounding as well, if reoslve on time), then this is less dirty...
HI Larsen, thanks to the lesson, but i don't get why I have tu use a Db lydian Dominant over Db7,can you explain me the theory please?
It is closer to C major than just using Gb major, and altering the Db7 would be pointless.
Does that help?
@@JensLarsen mmm no I'm sorry, I don't understand why I can use the 4th mode of the melodic minor..I mean, what's mean the melodic minor in a major context?
@@TomRossi83 You use melodic minor in a major key all the time, Vof V, Backdoor dominants?
@@JensLarsen ok i need to study more, I don't know what's is a Backdoor dominant, anyway thanks your lesson are very intersting and clear. Can maybe do a few Skype lesson one day?
@@TomRossi83 No worries! I usually don't have time for Skype lessons, but I can otherwise recommend some good teachers :)
these arepegios can work on a dom 7 chord in any context? even if not functioning as a tritone sub?
No, not in any context. Stick with what I describe in the video :)
Can you please tell me what are my options to play over a dominant chord i only know the half diminished arrpegio from the thrid
@@royitt4142 try this video ua-cam.com/video/EZK2zOctCMo/v-deo.html 🙂
@@JensLarsen thank you!
Jazz master
If the pianist is playing the normal changes of a standard and you improv over tritone substitution will it work?
That depends on a lot of things, but mostly it will, even if it clashes
Jens Larsen in satin doll - wes Montgomery he’s comped by a c#mi7 - f#7 and plays a e major triad over the f#7. In the original progression it’s a gm7-c7 I’m assuming you couldn’t play that e major triad over that c7 right? But even over the f#7 it shouldn’t really work but it does.
@@MrSqilz The triad from the 7th of a dominant is hardly far out? I use that all the time, and actually Wes does that often as well in the stuff I have transcribed?
Jens Larsen playing a b natural over a dominant c7 is hardly far out?
@@MrSqilz if you are playing a tritone line, then no, not really. It is not only about a single note, it never is
Interesting how the switching of 3 and 7 doesn’t work for major or minor, only dominant chords
Well, it requires the interval between the two to be symmetrical so it isn't really that strange 🙂
everywhere it s sounding Phrygian...we have to make It sounds Lydian #11 !!!!!!!!!!
I get lost choosing extensions like (9,13) here
Think melody not extensions, numbers are not music.
“Obviously it works because the chord works?!?”
You have already heard how Db7 works, so then the arpeggio of that chord will work as well 🙂
Yep
@jens larsen
Hi, first: thank you so much for all of your videos. Its been incredibly fruitful for my playing. I have a question regarding this particular section of the video. I'm going detail by detail in order to understand how to learn/apply the arpeggio (Db7) and loosen my fingers (and brain) before digging into understanding the scale that would embelish it, but I happen to notice that when you play the little riff in minute 4:45 , the music notation shows to play G (b5th degree) rather than G# (5th degree) of the arpeggio. I am playing it in slow-mo trying to see your fingers and seems to me that is just a typo cause you actually play fret 4 (G#) rather than fret 3 (G) in the 1st string, which in my fingering I am alternately playing in fret 7, string 2. Would you clarify this please.
Nevermind, just found that this has already been addressed. Thank you
wash hands and clean strings!!
You speak to much, i Will préfère many praticks
I am sure you can find other channels that fit you better 🙂