It's hard to even find good teach here in north New York! Many musicians sure, but bad teachers. This guy is an exceptionally good teacher! I quit my real lesson with a female jazz musician because she has no plan and no skill at teaching, every lesson was a chaos and frustration, I played the piano for 20 years but not I feel more handicapped than before. Also, at least there is UA-cam access in Ukraine, China blocks UA-cam!
Beautiful. Those progressions sound familiar but I would never have figured out exactly how they were constructed without your clear and elegant explanation. Thank you.
Really informative video. I finally understand tritone substitutions. I really like the part about how you don't really need to change the chord but can use the tritone scale over the original chord. Way cool stuff. Thanks.
Great video. So far though, you haven't mentioned that this substitution technique creates chromatic movement, which is always a good thing in jazz, and many pop styles, too (especially in the first musical example at 9 minutes in)
Murray Blake , Hey , hoping that you are making good progress . It is important to understand that tritones are not effective if or whilst you are singing and playing simultaneously. See my reply to the presenter to learn more. He is a great musician and I meant no negativity towards him , just my input. Take care and keep practicing. 👍👍👍
I was introduced to jazz and took jazz guitar for a year. Took jazz piano for a year. Not a pro but this may help.some.people new to the genre. Today. Today I tried to play Db scale over a G7..largely discordant..Sounded like a good idea at the time. I noticed if you modified the chord to ..lets say a G7b9 which is nothing but an Ab B D F..that works better. I also the alt scale over it..my trick is start first 4 notes as the 1/2 wholescale..then whole scale. G Ab Bb B Db Eb.F G. So I think that this would be a good compromise. Root b9 #9 3 b5 #5 b7 Root. I think this scale is one that every struggling musician should learn. it is very typical of modern music from the 30s up. Best to start with A quick hack that I have used to find this scale is to b all the notes of C to get the altered scale. Say. C Bb Ab Gb Fb Eb Db C. Read this backwards in ascending form.. It becomes the altered scale.C Db Eb E Gb Ab Bb C. This works in all 12 keys. So So I've read in numerous articles that all the necessary notes of the C7 Dom chord.Root 3 b7 or C E Bb are unchanged and I notice that the 5 is missing.This is because the unnecessary. It is often modified. The altered scale does all this. It has b9, #9 etc. Knowing this one scale helps us probable better than amy scale..except we must know all 12 scales..That pattern takes a few seconds..about 5 . 2 and a half 3 and half . 2 1/2. 3 and. 3. 1/2..All for now.
Musical theory is mystically interesting. Maybe it's just me. It border on boring because of the dry nature of it but it's interesting to know why things are going on. The jazz piano chords always alluded me.
rawstarmusic I am writing this because you are exploring the jazz gendre. This video lesson begins to open up jazz to to you, if you mine it depths. if you read this over and over it will help you. I am texting so there may be some typos This is a little involved but can be learned in one sitting at the piano. Two things to point out, the flatted fifth note of the diatonic scale is the tritone. cdefg (scale of c up to fifth note) flat the fifth or go up six semi tones or go up three semitones. all land you on the coveted , much espoused , gotta know , tritone. in c it will be gflat. There is a special relationship with the tritone it is basically a half step above where you would go in basic music theory. I may be playing in c I play a g flat7 instead of a g7. the notes of of a gflat 7 chord are( gflat bflat dflat f flat) . . Now this is key,.Jazz revolves and lives and breathes with the circle of fifths. So in you were playing a song and c was the five chord it will resolve to the one chord which is the f chord. Remember this chord it is your target chord. But the jazz has has chromatic movement.. Now I break things down to the simplest way I can understand it.. getting back to the chord.. take the gflat seven. I'll write them again ( gflat bflat dflat fflat). Now remember that our Target chorf in this example will be fmaj 7 or possibly another dominant. Flatting all the notes . ( the gflat will be f, the bflat will be a, the dfat will be c the f flat or e note will be eflat.) if you take a note book by your piano I recommend a spiral. and write this down and make the gflat 7 and drop all notes by a semitones or half step, there right before your eyes will be the home chord of f ( this will be a dominant seven faceflat and you can change this to fmaj 7, face.)) jazz musicians are the among the most advanced musicians in the western world. They hone their skills day and night. Many grew up playing classical. I have a little back ground in jazz but is not my forte also play a little jazz guitar.
Wow, I am a piano major and have always loved Jazz and wanted to learn. Unfortunately, teachers and students will not take the time to help and explain tricks sometimes. I am so glad I decided to watch your videos, I am so overjoyed and I can't wait to use these on my compositions. This gives me motivation for I now have a greater view on jazz playing, and composing thanks to your videos. Thank you so so much!!!😁
Sure thing. Also check out my Jazz Piano series here on UA-cam (totally free, just search for mangoldproject and jazz piano course and you'll find the playlist easily).
@@MangoldProject Yes, I already viewed all of the course and will apply that information to my jazz playing. Thanks again sir, I look forward to looking at the rest of your videos.
Front door 7alt backdoor 7+11 back door tritone sub these chords are mirror images of each other and interesting because both chords contain 2 tritones 3rd and 7th as well as root and +11. This puts them both into the modes of melodic minor. Chromatically altered harmony is powerful.
Or the sharp fourth. Or three whole tones stacked on top of each other. Or two minor thirds stacked on top of each other. The last one is the way I like to think of it. Then there's also the interval between the fourth tone "Fa" and the seventh tone "Ti" and visa versa -- f to b or b to f.
Example: E and Bb is a tritone. They could be the 3rd and 7th of a C dominant 7th or they could be the 7th and 3rd of an F# dominant 7th. F# and C are tritones. Therefore C7 and F#7 can substitute each other.
Very much enjoyed your video. At 11:10 you're talking about the G mixolydian mode. Having learned guitar first, I noticed pianists never seem to talk about modes, which guitarists talk about all the time. Any thoughts about that ? If you're up for suggestions, I'd love if you could get into pivoting in and out of scales.
(Jazz) pianists talk about modes a lot :). I've just refrained from talking about modes because my thought processes are kind-of non-standard. But I'll see what I can do about your request :).
Benjamin Thomas I am a guitarist and teach guitar occasionally. I walk both sides of the street. I'm going to talk about both. just some thoughts.. the modes are just another way music communicate with each other pentatonics minor and major..ECT.. Jazz pianist of which I am not yet, do talk about the modes Alot. I see alot of videos that talk about it. Many videos are not aimed towards advanced players. I don't think I've ever heard anybody talk about jery Lee Lewis smoking that mixilydian mode when he scraped his them down on the keys in great balls of fire. Mr guitar, Mr atkins said he didn't read anymore music than necessary. He was a extremely talented and knowlegable musician. Chet was at first rejected by Nashville.. On guitar scale charts you have a verticle feel usually in a five frets, which are are movable. So the new guitarist can play in all twelve keys in a week at some level. Not so on the piano. it is not really symmetrical. To learn the major scales the new pianist has to learn 12 scales. The fingering is different on almost all keys. So we weren't taught modes as such, unless you were in the jazz genre. it really is unnecessary except as a way of cataloguing and identifying songs. in guitar you can hear the Dorian. Heavy metal uses the phrigian ECT. As a pianist and guitarist, guitar is often a follow the frets always same results but due to the physical layout it is more in initial work. However as you advance into higher levels like Chet and Brent Mason and Jerry Reed then it's a whole new ball game. At the higher levels in both stringed instruments and piano ( which is stringed also),the knowledge level comes together somewhat.. Now having said all that if you play the simplest for country songs ..There are literally millions of examples. As long as you don't modulate or complicate the song, you will often be playing the modes. Playing in c all notes c in d minor all notes are c scale. .. playing in e minor all notes from c scale, f just notes from the c scale, g same a minor same, aminor same.. locrialn on the bminor 7 flat 5. . just some thoughts. . So we've been playing modes for years and didn't know it.
Benjamin Thomas there's a fair bit of difference in the neural pathways formed playing either instrument, in that you might say guitarists are more concerned with knowing the shapes as things are so easily transposable on the fretboard whereas obviously pianists have to familiarize themselves with each key, more or less. Which is not to say either one talks about modes more or less, but having been a piano player first, things like inversions and cluster chords came very naturally to me whereas a lot of these things tend to be more premeditated on the guitar (for me) and I assume the same kind of difference might extend to understanding of modes.
Awesome explanation. Loved the part where the kept the chord but played the tritone scale over it. How does that work? What scale do I use? D flat major scale? By the way, whistling over this and then changing the melody blew my mind
That’s very helpful. Thank you. I’m a guitarist, not even close to being a “jazz” guitarist, but that was a perfect explanation even I can apply to my playing.
Wow, this is just the point i want to know about tritone.. great explanation and so detail. By the way, when soloin the melody over tritone substitution can we do like this: Em - A (soloing Eb scale) - Dm - G (soloing Db scale) - C. Thanks before, and sorry for my bad english
does anyone know any good exercises for getting quicker at recognizing inversions and being able to play them without thinking? Right now I'm just playing 2-5-1 in all keys for practice, but it takes me a second to switch between chords and it takes me a few times before I get it fluidly.
Gone Space8y I can tell you the best way to learn to play inversions. is to play with right hand arppegios. try c arpepegio. ., star t a couple octaves up from middle c in descending motion. start with pinky c , second on g and thumb on e.. then g with pinky then second on e then then thumb on c. then continue with this type pattern. When you get these down they become extremely fast and you will know the root the third and the fifth.
This initial approach you showed with the dominant shell voicing makes so much sense now. I always thought when analyzing old blues pieces that artists would just use dominant shell voicings descending chromatically , but in fact they are just playing the 1-4-5 blues progression with the Triton sub.
..and for the theorists the Db has the Cb as its 7th....yes it is B....but......some may well be thinking ..where does the B come from in a Db7 chord? BUT IT'S A GREAT VIDEO
I have never been quite happy with the sound of a tritone chord substitution however your illustration of harmonizing the melody with a tritone arpeggio is wonderful. Just one more step in the process, Ddoohhh...! Thank You!
Great explanation! However... this is not what a tritone sub is. It is not just an interval; it’s an actual chord. To make a tritone sub in a chord progression, let’s say II - V - I, go up (or down) a tritone from the tonic and build a dom. 7 chord from there. This works because, as you said, the third and seventh (or flat seventh in the case of a dom. 7 chord) are really the driving forces of this particular chord, and in the case of a tritone sub., those two notes are still in the chord.
Your video was great, there is no doubt about it, but the thing is if you look at what you're suggesting strictly from an harmonization perspective the only place a tritone could ever exist in a C major scale is by ringing F and B. I do have to say i'm struggling to find the relevance of looking at this sound as an entity constructed on a C major scale simply because some of the notes you're playing with are NOT on the C major scale. Why not just say: if you're looking for a dissonant blues vibe, just be informed that the tritone interval is at the core of it, and work by ear from there?
Being a bit persnickety, the B in the Db chord should have a name Cb. But yeah, substituting a dominant chord a tritone away has the same tritone. The tritone sub is all over the place, especially in bluesy songs. From playing bass, I've trained myself to see the tritone sub as always being available on a dominant to make the bassline more logical. It works great for soloing, too.
This might be a bit pernickety but you should probably have left one rather than two keyspaces between the second and third word of your opening sentence. 😂
You should make clear theat the Db7 chord does not contain a B note but rather a Cflat. It sounds the same but has a specific Harmonic context. Your videos are great!
Very interesting! I encountered this thingy many times and loved it but had no name for it, now I do! Thanks a lot! This is a great way to jazz up your songs.
Tritones are good if you are playing classical or an instrumental , mostly jazzy. If you are singing and playing , then your singing might go offtune or the singer that you are playing for and that singer will give you a sinister or angry look, lol. A hint , you can do a tritone on only one additional key , either ascending or descending whilst someone is singing without leading that singer into offtune . Single note of tritone but not the fingered chord either left or right of the keyboard or piano. Thanks for your input on tritones, great video.
This is indeed beautiful. There was a time when the tri tone was considered forbidden in musical composition. I’m glad that notion was abandoned many years ago.
Thanks a lot for these lessons. I want to ask a question about which notes in the scale are safe to substitute? For example, obviously you will not substitute the 1 chord; so which degrees in the scale could you substitute?
Very interesting question. I'm not sure you can't substitute the 1. For example, in the progression C->F, you could also play C->Gb->F, substituting the 1.
MangoldProject hmm... I was wondering during we won't substitute the 1 just because it's the root. But I guess six even that can be substituted then the others could be substituted; maybe as long as fits then?
Ultimately, it's about what your goal is. If you want to stay in a particular key, then maybe don't screw up its tonic chord too much. If your goal is to obscure the key, then t's a GOOD idea to screw up the tonic chord! Maybe you want to create a sequence, like a chain of dominant seventh chords- in which case you could create an interesting bassline by creating tritone substitutions. Tritone subs are good for creating a feeling of temporary tonicization - the strong pull towards the next chord - and for creating chromatic basslines over the calssic ii-V-I turnaround.
When you talk about using for soloing - you say you’re going to play C to F, but then go on to play C to G. Just thought you might like to know - threw me a bit as I’m a guitarist!
Great lesson! How do you know that Em7 A7 Dm7 can work as a progression? I am a beginner. I understand that G7 resolves into C. But what about the other chords? What is their connection? Or are we just using random dominant 7th chords from the key of C?
Hello Mangold . Thanks .Excellent video. Am i correct if i say that a tritone is an octave cut in half ? Because i noticed that the 6 semitones of the tritone are exactly half of the 12 semitones of an octave.
Yes and no. Yes in the sense that an octave = 12 semitones, and a tritone is 6 semitones, so 6 = 12/2. No in the sense that an octave is a doubling of the frequency, but a tritone is only ~1.41-ing the frequency. Example: take middle A = 440 Hz. The A an octave above is 880 Hz. The Eb which is a tritone above the middle A has a frequency of about 440*1.41~620 Hz. Take your pick :).
Hi Kenneth, I used to get so confused by the concept of tritones. Let me see if I can help you understand. - A tritone is always 3 whole-steps away from a note. Nothing more, nothing less... ALWAYS 3 whole-steps. - Let's say we have the note "C". If you count 3 whole-steps forward, you will get a tritone. If you count 3 whole-steps backwards, you will get a tritone. - So, for example, if we start with C, 3 whole-steps forward is F#. So, a tritone away from "C" is "F#". - If you count 3 whole-steps forward from F#, you will get C. So, a tritone away from "F#" is "C". - If we start with C, the 1st whole-step is C-D, 2nd whole-step is D-E, the 3rd whole-step is E-F#. So, 3 whole-steps forward makes F# the tritone for the note C. - If we start with F#, the 1st whole-step is F#-G#, the 2nd whole-step is G#-A#, the 3rd whole-step is A#-C. Again, 3 whole-steps forward makes C the tritone for the note F#. - So, if you do this in reverse, you'll end up at the same notes. - If you do 3 whole-steps backwards from C, you'll end up at F#. 1st whole-step is C-A#, 2nd whole-step is A#-G#, 3rd whole-step is G#-F#. So, 3 whole-steps backwards makes F# the tritone for the note C. - If you go 3 whole-steps backwards from F#, you'll end up at C. 1st whole-step is F#-E, 2nd whole-step is E-D, 3rd whole-step is D-C. Again, 3 whole-steps backwards makes C the tritone for the note F#. - So, in any direction you always end up with these 2 notes. C or F#. - So, remember that a tritone is always 3 whole-steps away... no matter what note you choose to use. If you are looking for a tritone from C, you'll never get a note "further" than or a note that surpasses F# because F# is always 3 whole-steps away from C in any direction. - A tritone is ALWAYS 3 whole-steps away. A tritone away from F# is ALWAYS going to be C, because C is 3 whole-steps away from F# in any direction (and vice versa). ANOTHER EXAMPLE: (if you count 3 whole-steps) Let's pick the note G. It's tritone is D-flat (and vice versa. The tritone for D-flat is G). If you're using G, you will never get a note higher or lower than D-flat as it's tritone because D-flat is 3 whole-steps away. If you're using D-flat, you will never get a note further or closer than G as it's tritone because G is 3 whole-steps away. Hope this helps some. :-)
“You could have just summoned a frickin demon, in my frickin kingdom”
tritone voicing cheers
Danielll
thanks very match
i live in the small city in Ukraine
its so hard to find good teacher
i hope so you be my teacher trough youtube
Tritone devil horns at 5:06
It's hard to even find good teach here in north New York! Many musicians sure, but bad teachers. This guy is an exceptionally good teacher! I quit my real lesson with a female jazz musician because she has no plan and no skill at teaching, every lesson was a chaos and frustration, I played the piano for 20 years but not I feel more handicapped than before. Also, at least there is UA-cam access in Ukraine, China blocks UA-cam!
@@reggaefan2700 lolol
Lesson: how to wistle while playing jazz voicings 😂
It's not shown on screen, but I was also doing by taxes simultaneously.
@@MangoldProject The main thing is make sure your taxes are accurate..
Obviously using devil horns to play the unholy interval.
Haha, I didn't even notice that! But you're absolutely right :)
Tritone devil horns at 5:06
HAHAHAHAHAH
A completely practical and incredibly well taught explanation free of needless jargon or breakneck speed. Many thanks.
I can't tell you how much this has turned the light on for me. I've been playing 21 years and this is like a second wind for me. Thank you so much!!!
Beautiful. Those progressions sound familiar but I would never have figured out exactly how they were constructed without your clear and elegant explanation. Thank you.
We'll put! I don't need to comment after YOUR 'clear and elegant' words.
Yet you did anyway
exactly, they were everywhere and i just understand the explanation just now.
See nh
almost a decade ago people on youtube didnt explain this well and i gave up but this is nice
aaaaaaaaaahhhh so that's where that sound comes from!
Haha exactly what I thought
Really informative video. I finally understand tritone substitutions. I really like the part about how you don't really need to change the chord but can use the tritone scale over the original chord. Way cool stuff. Thanks.
yes same love it
Great video. So far though, you haven't mentioned that this substitution technique creates chromatic movement, which is always a good thing in jazz, and many pop styles, too (especially in the first musical example at 9 minutes in)
You have shown what we hear pro players do but never understood... fantastic.
Murray Blake , Hey , hoping that you are making good progress . It is important to understand that tritones are not effective if or whilst you are singing and playing simultaneously. See my reply to the presenter to learn more. He is a great musician and I meant no negativity towards him , just my input. Take care and keep practicing. 👍👍👍
I was introduced to jazz and took jazz guitar for a year. Took jazz piano for a year. Not a pro but this may help.some.people new to the genre. Today. Today I tried to play Db scale over a G7..largely discordant..Sounded like a good idea at the time. I noticed if you modified the chord to ..lets say a G7b9 which is nothing but an Ab B D F..that works better. I also the alt scale over it..my trick is start first 4 notes as the 1/2 wholescale..then whole scale. G Ab Bb B Db Eb.F G. So I think that this would be a good compromise. Root b9 #9 3 b5 #5 b7 Root. I think this scale is one that every struggling musician should learn. it is very typical of
modern music from the 30s up. Best to start with A quick hack that I have used to find this scale is to
b all the notes of C to get the altered scale. Say. C Bb Ab Gb Fb
Eb Db C. Read this backwards in ascending form.. It becomes the altered scale.C Db Eb E Gb Ab Bb C. This works in all 12 keys. So
So I've read in numerous articles that all the necessary notes of the
C7 Dom chord.Root 3 b7 or C E Bb
are unchanged and I notice that the 5 is missing.This is because the unnecessary. It is often modified. The altered scale does all this. It has b9, #9 etc. Knowing this one scale helps us probable better than amy scale..except we must know all 12 scales..That pattern takes a few seconds..about 5 . 2 and a half 3 and half . 2 1/2. 3 and. 3. 1/2..All for now.
thank you mangold projects for helping me learn👏
My pleasure. More good stuff planned for the upcoming weeks :)
Musical theory is mystically interesting. Maybe it's just me. It border on boring because of the dry nature of it but it's interesting to know why things are going on. The jazz piano chords always alluded me.
rawstarmusic I am writing this because you are exploring the jazz gendre. This video lesson begins to open up jazz to to you, if you mine it depths. if you read this over and over it will help you. I am texting so there may be some typos This is a little involved but can be learned in one sitting at the piano. Two things to point out, the flatted fifth note of the diatonic scale is the tritone. cdefg (scale of c up to fifth note) flat the fifth or go up six semi tones or go up three semitones. all land you on the coveted , much espoused , gotta know , tritone. in c it will be gflat. There is a special relationship with the tritone it is basically a half step above where you would go in basic music theory. I may be playing in c I play a g flat7 instead of a g7. the notes of of a gflat 7 chord are( gflat bflat dflat f flat) . . Now this is key,.Jazz revolves and lives and breathes with the circle of fifths. So in you were playing a song and c was the five chord it will resolve to the one chord which is the f chord. Remember this chord it is your target chord. But the jazz has has chromatic movement.. Now I break things down to the simplest way I can understand it.. getting back to the chord.. take the gflat seven. I'll write them again ( gflat bflat dflat fflat). Now remember that our Target chorf in this example will be fmaj 7 or possibly another dominant. Flatting all the notes . ( the gflat will be f, the bflat will be a, the dfat will be c the f flat or e note will be eflat.) if you take a note book by your piano I recommend a spiral. and write this down and make the gflat 7 and drop all notes by a semitones or half step, there right before your eyes will be the home chord of f ( this will be a dominant seven faceflat and you can change this to fmaj 7, face.)) jazz musicians are the among the most advanced musicians in the western world. They hone their skills day and night. Many grew up playing classical. I have a little back ground in jazz but is not my forte also play a little jazz guitar.
Thank you God for having this channel in my life
I feel the same way
Or.. you know.. thank this guy maybe?!
Are you sure you want to thank god? Tritone devil horns at 5:06
Very good explanation, clear and simple. The bass line goes smoothly without jumps, creating a beautiful polyphony with a melody and harmonic filling.
Wow, I am a piano major and have always loved Jazz and wanted to learn. Unfortunately, teachers and students will not take the time to help and explain tricks sometimes. I am so glad I decided to watch your videos, I am so overjoyed and I can't wait to use these on my compositions. This gives me motivation for I now have a greater view on jazz playing, and composing thanks to your videos. Thank you so so much!!!😁
Sure thing. Also check out my Jazz Piano series here on UA-cam (totally free, just search for mangoldproject and jazz piano course and you'll find the playlist easily).
@@MangoldProject Yes, I already viewed all of the course and will apply that information to my jazz playing. Thanks again sir, I look forward to looking at the rest of your videos.
Front door 7alt backdoor 7+11 back door tritone sub these chords are mirror images of each other and interesting because both chords contain 2 tritones 3rd and 7th as well as root and +11. This puts them both into the modes of melodic minor. Chromatically altered harmony is powerful.
So, simply stated, the Tritone = the flatted 5th?
Correct.
Or the sharp fourth. Or three whole tones stacked on top of each other. Or two minor thirds stacked on top of each other. The last one is the way I like to think of it.
Then there's also the interval between the fourth tone "Fa" and the seventh tone "Ti" and visa versa -- f to b or b to f.
@@josephbrandenburg4373 It also perfectly divided the octave 😊
Basically, the blue note of the root note
Example: E and Bb is a tritone. They could be the 3rd and 7th of a C dominant 7th or they could be the 7th and 3rd of an F# dominant 7th. F# and C are tritones. Therefore C7 and F#7 can substitute each other.
Imagine a chord progression going E - B flat constantly. Would that be annoying?
You always point out very interesting things!!!! Great video lesson!!!🙏🏾🙏🏾🙏🏾
I really enjoy your videos. They're clear, concise and immensely informative. Thank you so much.
Very much enjoyed your video.
At 11:10 you're talking about the G mixolydian mode.
Having learned guitar first, I noticed pianists never seem to talk about modes, which guitarists talk about all the time.
Any thoughts about that ?
If you're up for suggestions, I'd love if you could get into pivoting in and out of scales.
(Jazz) pianists talk about modes a lot :). I've just refrained from talking about modes because my thought processes are kind-of non-standard. But I'll see what I can do about your request :).
Alright, thanks for your reply!
And please continue your awesome work :)
Benjamin Thomas I am a guitarist and teach guitar occasionally. I walk both sides of the street. I'm going to talk about both. just some thoughts.. the modes are just another way music communicate with each other pentatonics minor and major..ECT.. Jazz pianist of which I am not yet, do talk about the modes Alot. I see alot of videos that talk about it. Many videos are not aimed towards advanced players. I don't think I've ever heard anybody talk about jery Lee Lewis smoking that mixilydian mode when he scraped his them down on the keys in great balls of fire. Mr guitar, Mr atkins said he didn't read anymore music than necessary. He was a extremely talented and knowlegable musician. Chet was at first rejected by Nashville.. On guitar scale charts you have a verticle feel usually in a five frets, which are are movable. So the new guitarist can play in all twelve keys in a week at some level. Not so on the piano. it is not really symmetrical. To learn the major scales the new pianist has to learn 12 scales. The fingering is different on almost all keys. So we weren't taught modes as such, unless you were in the jazz genre. it really is unnecessary except as a way of cataloguing and identifying songs. in guitar you can hear the Dorian. Heavy metal uses the phrigian ECT. As a pianist and guitarist, guitar is often a follow the frets always same results but due to the physical layout it is more in initial work. However as you advance into higher levels like Chet and Brent Mason and Jerry Reed then it's a whole new ball game. At the higher levels in both stringed instruments and piano ( which is stringed also),the knowledge level comes together somewhat.. Now having said all that if you play the simplest for country songs ..There are literally millions of examples. As long as you don't modulate or complicate the song, you will often be playing the modes. Playing in c all notes c in d minor all notes are c scale. .. playing in e minor all notes from c scale, f just notes from the c scale, g same a minor same, aminor same.. locrialn on the bminor 7 flat 5. . just some thoughts. . So we've been playing modes for years and didn't know it.
MangoldProject I think that modes are extremely helpful to the new players and others can be somewhat intimidating.
Benjamin Thomas there's a fair bit of difference in the neural pathways formed playing either instrument, in that you might say guitarists are more concerned with knowing the shapes as things are so easily transposable on the fretboard whereas obviously pianists have to familiarize themselves with each key, more or less. Which is not to say either one talks about modes more or less, but having been a piano player first, things like inversions and cluster chords came very naturally to me whereas a lot of these things tend to be more premeditated on the guitar (for me) and I assume the same kind of difference might extend to understanding of modes.
Very helpful and straightforward explanation of this seemingly complex topic
Awesome explanation. Loved the part where the kept the chord but played the tritone scale over it. How does that work? What scale do I use? D flat major scale? By the way, whistling over this and then changing the melody blew my mind
thanks. love your videos. Would love more great composers styles covered. Especially romantic and expressionism periods. A humble please.
Thank you so very much for sharing this with me....
Im so late but now I truly understand how jazz styles do those descending half step voicings, this is bloody amazing
Jazz is worth persusing.
That’s very helpful. Thank you. I’m a guitarist, not even close to being a “jazz” guitarist, but that was a perfect explanation even I can apply to my playing.
Cool. I always consider guitarists watching this channel a small victory!
I'm pretty savvy on realistic theory in music....you opened my eyes..I was always aware of the idea...you made it crystal clear....
Wow, this is just the point i want to know about tritone.. great explanation and so detail.
By the way, when soloin the melody over tritone substitution can we do like this:
Em - A (soloing Eb scale) - Dm - G (soloing Db scale) - C.
Thanks before, and sorry for my bad english
8:55 "Moikena aekyu" that's what I heard xD
does anyone know any good exercises for getting quicker at recognizing inversions and being able to play them without thinking? Right now I'm just playing 2-5-1 in all keys for practice, but it takes me a second to switch between chords and it takes me a few times before I get it fluidly.
Hi Gone. There's a video coming up this weekend with some ideas, but you're on the right track, just be patient and keep practicing!
Gone Space8y I can tell you the best way to learn to play inversions. is to play with right hand arppegios. try c arpepegio. ., star t a couple octaves up from middle c in descending motion. start with pinky c , second on g and thumb on e.. then g with pinky then second on e then then thumb on c. then continue with this type pattern. When you get these down they become extremely fast and you will know the root the third and the fifth.
this was perfect for me. Thanks!
Thank you very much for the clear explanation in all your videos Great !!!
This initial approach you showed with the dominant shell voicing makes so much sense now. I always thought when analyzing old blues pieces that artists would just use dominant shell voicings descending chromatically , but in fact they are just playing the 1-4-5 blues progression with the Triton sub.
Excellent lesson maestro!
Awesome lesson thank you so much
Thanks! I've never understood this concept until now. Great explanation.
..and for the theorists the Db has the Cb as its 7th....yes it is B....but......some may well be thinking ..where does the B come from in a Db7 chord? BUT IT'S A GREAT VIDEO
Very cool sound with the Db lead over the G chord at the end. I play guitar instead of keys, but this is definitely useful in stepping up my game.
I have never been quite happy with the sound of a tritone chord substitution however your illustration of harmonizing the melody with a tritone arpeggio is wonderful. Just one more step in the process, Ddoohhh...! Thank You!
Then a tritone substitution is a dominant 7 chord rooted on the flat 5 of the original chord?
Yes, that's another way to look at it.
So a tritone sub simply is the approaching of any chord from above by a semitone?? From Db down to C..
Thnx bro❤
Great explanation! However... this is not what a tritone sub is. It is not just an interval; it’s an actual chord. To make a tritone sub in a chord progression, let’s say II - V - I, go up (or down) a tritone from the tonic and build a dom. 7 chord from there. This works because, as you said, the third and seventh (or flat seventh in the case of a dom. 7 chord) are really the driving forces of this particular chord, and in the case of a tritone sub., those two notes are still in the chord.
Your video was great, there is no doubt about it, but the thing is if you look at what you're suggesting strictly from an harmonization perspective the only place a tritone could ever exist in a C major scale is by ringing F and B. I do have to say i'm struggling to find the relevance of looking at this sound as an entity constructed on a C major scale simply because some of the notes you're playing with are NOT on the C major scale. Why not just say: if you're looking for a dissonant blues vibe, just be informed that the tritone interval is at the core of it, and work by ear from there?
Wow, I understood here more than in my mother tongue, thank you for your good explanation:)
You WAY overcomplicated this
Thumbs downs were hoping for live action power rangers vids.
Thanks for a great lesson. Just knew of 'tritone' as an interval, but never really explained how to practically use it!
LOL. sounds like gospel chords and jazz kind of music. I am downloading this to study. Thanks for this nice tone of variation.
Try the alt scale over the G7.Us newer jazz player should know that in every scale. Have several things that have helped me again..npt an expert.
thank you very much for this, you just forgot to precise that you add the Major 9th in your musical exemples
Being a bit persnickety, the B in the Db chord should have a name Cb.
But yeah, substituting a dominant chord a tritone away has the same tritone. The tritone sub is all over the place, especially in bluesy songs. From playing bass, I've trained myself to see the tritone sub as always being available on a dominant to make the bassline more logical. It works great for soloing, too.
This might be a bit pernickety but you should probably have left one rather than two keyspaces between the second and third word of your opening sentence. 😂
I have been searching for a very long time for an explanation that I could understand. Thank you
You should make clear theat the Db7 chord does not contain a B note but rather a Cflat. It sounds the same but has a specific Harmonic context. Your videos are great!
Thank you for your explanation, it was wonderful and make me understand a lot about tritone substitutions and it usage. Thank you.
This is exactly what I'm learning right now, this is a great lesson and a big help! Very excited about going right back to practice, and even writing.
Thanks 😊
Thanks man I'm a bass player but you really explained this well!!!
Very useful and insightful video! Thanks
Very interesting! I encountered this thingy many times and loved it but had no name for it, now I do! Thanks a lot! This is a great way to jazz up your songs.
I always learn something when I come to this channel. Thank you.
I will subscribe and pay I would like to be also some special tutor , please I would like to start from the beginning
Very nice! This opened my eyes, thank you! :) God bless your projects!
Tritones are good if you are playing classical or an instrumental , mostly jazzy. If you are singing and playing , then your singing might go offtune or the singer that you are playing for and that singer will give you a sinister or angry look, lol. A hint , you can do a tritone on only one additional key , either ascending or descending whilst someone is singing without leading that singer into offtune . Single note of tritone but not the fingered chord either left or right of the keyboard or piano. Thanks for your input on tritones, great video.
Tritone substitutions ... my favourite. Great clip
Please make more tutorial about jazz Bebop Piano...thanks
"im gonna play in the kfc" lol
Thank you 🙂 perfect timing and calm
Thanks for a very clear description of this concept!
This is indeed beautiful. There was a time when the tri tone was considered forbidden in musical composition. I’m glad that notion was abandoned many years ago.
3:23 Sounds like the beginning of "Saturn" from The Planets
You have some good thoughts there. I've been trying to make tritones work and you've given a good example of some things to
work on. Thank you.
Guitarist here. I like piano teachers. Subbed.
Excellent Class...Thank you Sir...
Best explanation I have ever heard of tritone substitutions.
your whistling is pretty decent, do you use it as a tool when composing?
thank you very much
Please. show all chords of blues gamma
Could you clarify what Blues Gamma is?
I mean The Blues scale - en.wikipedia.org/wiki/Blues_scale.
please show what chords this blues scale consists of
Those are basically, creating passing chords!
Thanks a lot for these lessons. I want to ask a question about which notes in the scale are safe to substitute? For example, obviously you will not substitute the 1 chord; so which degrees in the scale could you substitute?
Very interesting question. I'm not sure you can't substitute the 1. For example, in the progression C->F, you could also play C->Gb->F, substituting the 1.
MangoldProject hmm... I was wondering during we won't substitute the 1 just because it's the root. But I guess six even that can be substituted then the others could be substituted; maybe as long as fits then?
Ultimately, it's about what your goal is. If you want to stay in a particular key, then maybe don't screw up its tonic chord too much. If your goal is to obscure the key, then t's a GOOD idea to screw up the tonic chord! Maybe you want to create a sequence, like a chain of dominant seventh chords- in which case you could create an interesting bassline by creating tritone substitutions.
Tritone subs are good for creating a feeling of temporary tonicization - the strong pull towards the next chord - and for creating chromatic basslines over the calssic ii-V-I turnaround.
Haha you said C to F but played a C to G chord progression at the end?
At last someone who explains! Thank youuu
THANK YOU SO MUCH SIR, your videos helped me a lot..keep making videos it will help us to be a good musician.
Mind blown. I'm SO using these all over the frikkin place now.
Yes, it's one of the cornerstones of jazz harmony. Be careful not to *overuse* it, though, as often happens when we learn new ideas.
I think this is the most accurate lesson for tritone substitutions. Thanks.
Thanks Reynold! I do my best to be comprehensive without dragging it out.
BEST HARMONY CHANNEL ON UA-cam PERIOD
Many thanks, Daniel.
hello sir i am from india and your lessons are really helpful to me. Thank you
Thanks Patil. Glad to know they're helping you out.
i amazed with ur reply thanku
Your explanations are so clear. Thanks.
9:49 sounds like someone in a Zoom session entering the Waiting Room. Lol
the presenter is very articulate and organized.
Thank you VERY much for this video..I have a question...can you arpegiate on the triton DB b right hand ...while playing G7 chord left hand ?
You definitely can!
Very helpful. Thank you!
When you talk about using for soloing - you say you’re going to play C to F, but then go on to play C to G. Just thought you might like to know - threw me a bit as I’m a guitarist!
Whoops, sorry about that - sometimes I make small mistakes and miss them in editing ...
Great lesson! How do you know that Em7 A7 Dm7 can work as a progression? I am a beginner. I understand that G7 resolves into C. But what about the other chords? What is their connection? Or are we just using random dominant 7th chords from the key of C?
Time stamp around 8:00
@@ME3fan This is a common progression going around the circle of fourths: iii-VI7-ii-V7-I.
Hello Mangold . Thanks .Excellent video. Am i correct if i say that a tritone is an octave cut in half ? Because i noticed that the 6 semitones of the tritone are exactly half of the 12 semitones of an octave.
Yes. It's the "furtherest" you can get from any note
Drunk_Fox sorry , i don't understand what you mean.
Yes and no.
Yes in the sense that an octave = 12 semitones, and a tritone is 6 semitones, so 6 = 12/2.
No in the sense that an octave is a doubling of the frequency, but a tritone is only ~1.41-ing the frequency. Example: take middle A = 440 Hz. The A an octave above is 880 Hz. The Eb which is a tritone above the middle A has a frequency of about 440*1.41~620 Hz.
Take your pick :).
MangoldProject Thanks Mangold. Very clear.
Hi Kenneth, I used to get so confused by the concept of tritones. Let me see if I can help you understand.
- A tritone is always 3 whole-steps away from a note. Nothing more, nothing less... ALWAYS 3 whole-steps.
- Let's say we have the note "C". If you count 3 whole-steps forward, you will get a tritone. If you count 3 whole-steps backwards, you will get a tritone.
- So, for example, if we start with C, 3 whole-steps forward is F#. So, a tritone away from "C" is "F#".
- If you count 3 whole-steps forward from F#, you will get C. So, a tritone away from "F#" is "C".
- If we start with C, the 1st whole-step is C-D, 2nd whole-step is D-E, the 3rd whole-step is E-F#. So, 3 whole-steps forward makes F# the tritone for the note C.
- If we start with F#, the 1st whole-step is F#-G#, the 2nd whole-step is G#-A#, the 3rd whole-step is A#-C. Again, 3 whole-steps forward makes C the tritone for the note F#.
- So, if you do this in reverse, you'll end up at the same notes.
- If you do 3 whole-steps backwards from C, you'll end up at F#. 1st whole-step is C-A#, 2nd whole-step is A#-G#, 3rd whole-step is G#-F#. So, 3 whole-steps backwards makes F# the tritone for the note C.
- If you go 3 whole-steps backwards from F#, you'll end up at C. 1st whole-step is F#-E, 2nd whole-step is E-D, 3rd whole-step is D-C. Again, 3 whole-steps backwards makes C the tritone for the note F#.
- So, in any direction you always end up with these 2 notes. C or F#.
- So, remember that a tritone is always 3 whole-steps away... no matter what note you choose to use. If you are looking for a tritone from C, you'll never get a note "further" than or a note that surpasses F# because F# is always 3 whole-steps away from C in any direction.
- A tritone is ALWAYS 3 whole-steps away. A tritone away from F# is ALWAYS going to be C, because C is 3 whole-steps away from F# in any direction (and vice versa).
ANOTHER EXAMPLE: (if you count 3 whole-steps) Let's pick the note G. It's tritone is D-flat (and vice versa. The tritone for D-flat is G). If you're using G, you will never get a note higher or lower than D-flat as it's tritone because D-flat is 3 whole-steps away. If you're using D-flat, you will never get a note further or closer than G as it's tritone because G is 3 whole-steps away.
Hope this helps some. :-)
Luv how this dude teaches. 1 of YTs best
So clear an explanation...cheers man.
Use computer to copy the keys you're pressing
Best explanation I’ve seen, thanks !
Why are there an Eb and a G in Db7? Isn’t that Db F Ab B?
This was excellent. I struggled with years to grasp the idea of the tritone substitution but i reckon this one lesson helped the most!!
Glad to know my video helped you out.