SIMPLE STEPS! Ep. 1 - Tritone Substitution
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- Опубліковано 16 лис 2024
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Welcome to my new series, "Simple Steps!" I want to simplify musical concepts and teach them to you in a way that is more concise and clear. Many people are overwhelmed by the complicated approach some educators take in explaining concepts, so I'm here to try to make easier for you!
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What other concepts do you want to see in this series? Let me know!
How about harmony? Playing extensions? Enclosures? I'd pretty much be happy with any concept you decide though 🤔😊
maybe a basics of transcription? I feel I can get the notes but not the style. Or implementing these and other lines into your improvisation? this is a great vid!
Maybe ways of playing “outside” when improvising such as on modal tunes like “So What”
I know you've probably already done a video on it, but digging into the fundamentals of jazz articulation and how to play/implement altissimo into improvisation.
Hey Dave! I’m currently taking Jazz theory at my university. And we are talking about how we can think of diminished chords as dominant b9 chords. Still a bit confused about it, maybe you can explain in a video?
I love this!!!! So so so glad you’re doing an official educational series now! This was incredible
Thanks so much! I see so many educators confusing their students with tons of complex stuff, and it just confuses them and sometimes scares them off. Work smarter, not harder!
I can stay all the day listening to you playing , what a master !!
I've always thought of Fmaj7 when working on licks emphasising the 9 of the D-7 chord, but I never thought of applying that to a tritone sub as well. Brilliant.
Glad you dug it - good luck with it!
Dude you've been talking about tritone subs for 15 years and I never had any idea what you were talking about. Makes a lot more sense now!
I gotchu
OMG this is genius! PLEASE make one on minor 251s. The chosen one said he would appreciate it.
I've transcribed so many solos with that Bmaj triad substituting for the G7 and I finally know where it comes from. Thanks!
Excellent lesson...clear and concise x
I appreciate that!
Ooo this makes adding pentatonic shapes way simpler. Like minor pentatonic of the third each chord and messing with those would sound hip. So A minor pen, to D# minor pen, and E min pen. I think that’s right lol.
Yup! You got it.
Thank you 🙏
Genial Dave!!! Eso suena espectacular!!! Gracias!!! Un abrazo!!!!🎷🎷🎷
This is the best lesson I’ve ever had about tritone subs, and really opened up a new way of thinking for me. Thanks so much!
Thanks for watching, and I'm glad you liked it!
such a great way to think about it. produces some excellent sounding lines too!
100%!
Another cool thing...depending upon from "which side" you approach the substitution, you will end up with root movement approaching the tonic chord stepwise from either above or below, and can choose either one.
Thanks a lot, that question worry me all time I watch You.)
Beautiful!!!!! Thanks Dave for that conception❤
Thank you!! So glad you enjoyed it.
More simple steps!
I just put out episode 2!
Dave is doing the lord's work 😍😍
I don't know about that, but I'm just trying to help people out!
Nice presentation, Mr. Dave. Great advice for improvising in general: stay out of the weeds. You help with that!
Thanks so much!
4:51 sounding a little Paul Desmond-ish to me! Thanks for this approach man! You're a great teacher!
Oh I appreciate that - he has such a great sound and concept!!
Thank you so much, Dave! This is so useful! I will get on practicing this stuff right away!
Good luck with it!!
Thanks for that , I would like to see substitutes for major chords
This was really great and useful way to think about it. Thank you for making this video!
Glad you liked it!
Dave man....I love you. Thank you so much! I thought the Tritone sub was only applicable to the V7 chord never the ii-7 as well so this blew me away. Thank you so much. I totally agree and now subscribe to that same golden rule!
I'm really glad you liked this so much!
Woaw nice tips! Thanks 🙏🏽 I love your playing, your swing and feel!
Thanks so much!
This is awesome ! Please continue this series
Oh I am! Already working on the second video.
Playing over changes that require a lot of key changes are still quite difficult for me. The B Maj 7 adds a nice amount of tension which makes the resolution to the C Maj even nicer.
I've often thought, and thought even more when digging into it, of the close and interesting relationships between particular sets of scales, chords, and keys. Substituting the IV (the tonic forms include the M7th) for the ii7 is easy, they're essentially equivalent (the sounding 9th being the added sauce). Of course the ii7-V7-I is all the same scale and notes throughout -- so tritone substitution adds color and interest. The tritone substitution for the ii7 would also have the same scale/notes as the substitution for the V7, so stands in for it here, though in an enharmonic-"equivalent" tonic-7 form that *approximates it* -- the VII. They are different by one note in their respective scales -- the 3rd in the "bII7" normal V7 tritone substitution clashes with the 4th in its "VII" approximation, or rather, neither tone exists in the other scale. So why substitute for the ii7 instead of the V7 substitution? Because the latter of these is a bII7 and harder to think about on the fly, because that "bad" 4th in the VII substitution is usually an "avoid" tone anyway, and...because, using Dave's method you can use a simpler progression of all tonic-7 form chords. So, because it's easier, and why not? The missing element though, is that while the V7 tritone substitute preserves the identical 3rd-7th relationship sound (with the same tones though in inversion), this ii7 tritone substitution (or rather its VII approximation) does not. Again, related to that "bad" 4th in the VII's scale. (A vii or vii dim7 are other common substitutions for V7, with all or most of the same scale tones respectively, and preserving the same 3rd-7th relationship present tone for tone, but now root-diminished 5th in the substitute chord.) As Dave asks though, do you hear the difference? And do you miss it?
In my theory class I have already learned about a tritone substiaution and the Roman numeral is labeled as Sub V7 and drawing a broken dashed bracket on the II-7 related to the Sub V7 and going to the I maj7 by drawing a Dashed arrow for the resolution
Love this!
Thank you Dave, this is gold! I´ll share this video (and the PDF) with my student. By the way, you sound great as always!
Awesome - glad to hear that!
can you do a video on spread intervals if possible? (like spread triads etc)
This is really great! Nicely done!
Thanks!
Thank you Dave, very cool
Glad you liked it!
Please clarify how you arrive at Abm7 being two chord, (of what?)
It’s the ii of Gbmajor, which is what you think if you’re playing a tritone sub going to Cmajor, since Gb is a tritone away from C.
Thanks, Complicated stuff. For me at least.
@@DavePollack
Yeah man! Great Video!
Thanks so much!
Such a great idea!
Thanks! It came out of necessity.
Dude, wonderful vid
Way better taught than my teachers
Love the video! Is there a way to download the ii V I vamp?
Thanks! It's just irealpro...if you don't have that, I can just send you an mp3 of it if you want. Send me an email!
Hey, Dave! Thanks for the video and PDF! One question: if the sub5 it's 3 tones above the root, we would have C#7 (talking about C major). You've explained that and made it simple by resuming it to B major. But shouldn't it be F# major, since we're coming from C#7? Should we play B lydian? Anyway, the lines sound dope 🔥
Where you lose me is the Bmaj7 on the 5 chord. I always thought of the Db7 with a sharp 11, so I don't know where the F sharp (maj7 of G7) is coming from. Also, would this be played as a Bmaj7#11? Because don't you need the B and F so it outlines the original G7?
I love your channel btw
In the video I explain that lots of people just play the ii chord throughout a 2-5-1, and that creates a nice sound (basically a "sus" sound over the V chord). I showed that you can do the same thing with the tritone sub of the 2-5, so basically you're playing Abm7 throughout the written V chord (G7). Then I showed that the enharmonic of of the 3-5-7-9 of Abm7 is B D# F# A#, hence the Bmaj7 sound. This is a SPECIFIC sound that should be played in context with itself, and NOT something to just aim for "certain" notes on. Don't get hung up on individual notes - that's the whole point of this.
Really cool! Definitely easier to think about tritone subs like this. Just a general question, do you ever double tongue doubletime licks? I feel like I've hit an upper limit with q=150
It depends on the tempo - I can do normal tonguing on 8th notes at a pretty quick tempo, but I also use a verrry slurred style of articulation, so it's easier for me than someone who is articulating like Cannonball!
@@DavePollack Thanks! I think I have a more slurred style, just wondering if someone pro double tongues to get clear, crisp lines. I'll definitely keep experimenting!
Jay metcalf has just made a video about recording the saxophone but i would really like to know how you record your sax in the youtube videos
Maybe I'll do a video on that too! Quick rundown is a tube condenser mic, into a focusrite interface, into logic pro.
Dave Pollack thanks for the answer
Sweet!
Are you talking Lydian major. I guess I could think d-7 to d flat Dorian to C Major. Cool way to look at it
Don't think scales - that's a dangerous route to take and can get you really hung up (and confused).
the download link is not working 😭
Sorry about that - just fixed it! I accidentally deleted the folder when I was moving some files around. Should be all good now.
Hi, can someone kindly explain 2:00 please? I don’t get what it means when we put the 2 chord before the Db7, we get Abm7.. what is the 2 chord in this instance and how did we get to Abm7?
Many thanks in advance 🙏🏼
If the original 2-5 is Dm7 G7, the tritone substitution for BOTH chords is Abm7 Db7. The idea here is you're thinking about playing only the tritone substitution of the ii (original chord Dm, TT sub Abm7) because it gives you the TT sub sound, is easier to think about, and is more musical than just playing Db7 alone over G7.
Legendary
Thanks for this simplified lesson. Now I'm confused...LOL
Haha, well the tritone sub stuff is advanced from any angle, even a simplified one!
I like this video on the basis of the thumbnail. Bmaj7 on G7. Yes. Barry Harris identifies this in one of his masterclasses... F# on G7. BTW You Fail Harmony haha.
Hahah! And that's my problem with the way a lot of people teach - just saying as a blanket statement "X note will NEVER work over X chord, so don't EVER use it" is crazy to me. If you dig the sound, USE IT!
Dave Pollack it’s dumb isn’t it? It’s all about how you resolve and connect through the chords, not what you play on them. Like the way you connect the chords stepwise, or keep the same interval shape in the examples.
Wouldn't the B major 7 have to have an E# because it's coming from F#/Gb?
The Bmaj7 in this instance comes from nowhere - it's just a result of the 3-5-7-9 of Abm7. It's not a mode, not part of any key.
I'm a little confused as to where the Ab m7 comes from too
@@techdowntoearth8215 Well there are 2 ways of coming about the Abm7 - you can either think of it as the tritone sub of Dm7 (a lot of people sub out both the 2 and the 5 chord for tritone sub stuff) or you can think of it this way- anytime you have a 5 going to a 1, you can put what would be the 2 before. For example, if you have a song and there's a measure of D7 then it resolves to Gmaj, in that measure of D7 you can play Am7 for 2 beats then D7 for 2 beats (since D7 is the 5 of Gmaj, Am7 is the 2). I just took the Db7 (which is the new 5 in the case of this video) and put what would be the 2 before it (Db7 is the 5 of Gbmaj, so the 2 would be Abm7)
@@DavePollack Ah okay, thank you so much! So, the B major chord is just another way of looking at the Abm7 chord which comes from the same key as Db7, aka the tritone sub of G7, correct?
Yep, 100%! Just another way to think about it, and it's way that I think is easier to grasp.
Nice video Dave. Not enough sarcasm though, unsubscribed! 😉
Hah! Can't make everyone happy ;)
👍
The SOUND. Making me want to focus on alto again instead of tenor
It sounds great when you do it! But when I do it, it just sounds like a train reck 🤦🏽
Well it takes a LITTLE practice, hahah.
You flew over a couple of steps here, like whacking in a ii before the Db. It could have been a great vid but you didn't explain some things.
Creating motion by adding in the ii chord before a V7 is a very basic concept that is taught much before ever talking about a tritone substitution, and is one of the first ways to approach a standard V7-I (turning it INTO a ii-V7-I). If someone watching this video (about an advanced concept like this) I assume the person knows some things ahead of time. Just like I assume they know what the terms "minor 7, dominant 7" etc. mean.
@@DavePollack Yeah. The video is called Simple Steps. I'm sure most viewers know about ii V Is, but in giving the example of a tritone sub you omitted that the Db7 could itself have a V or secondary dom of its own, and just plonked it there.
I found other sources on YT that did go more carefully, and into tritone subs to other chords like the ii and vi/VI. But thanks.