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From Miles Davis to Britney Spears, from Lady From Ipanema to the Wii Shop Channel style, Tritone subs can be discovered in many designs and, initially, tritone substitution can appear like an advance and complex concept. But truly it's as simple as moving your chord down 3 tones! There is so much potential with tritone subs and they can be found in many sizes and shapes, so today let's discover more about how to tritone alternative!
SOURCES:.
Interview with Noel Gallagher (2009 ):.
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0:00 Tritone Substitution.
0:42 What is a Tritone sub?
3:57 Bossa Nova & Wii Shop.
6:51 Pop tune examples.
9:06 HDpiano.
9:52 Secondary Dominant Tritone Subs.
11:10 Stevie Marvel.
12:17 Luther Vandross & Burt Bacharach.
13:26 Dream A Little Imagine Me.
14:32 Sanctuary & Paul Weller.
15:48 the rarest type of tritone sub.
16:27 Jazz harmony.
18:11 Piano Outro/Patreon.
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There is a notable tritone sound in Jesus Christ Superstar in the “this Jesus must die” scene, when they sing “he is dangerous”
One thing I’ll say about him, Jesus is cool
Solid analysis
“Will he mention Britney Spears’ Toxic?” You bet he will.
He did!
I did not expect miis in the thumbnail, but cool. I like the first song it seems.
Billy Joel’s song “Vienna” uses a kind of tritone sub at the end of the chorus, when it goes from C7 to F#7 to F7, and finally resolving to the tonic Bb
Yes I love playing that on piano.
I believe that Christian Karlsson (galantis,miikesnow,bloodshy& Avant) was also involved with the production of Toxic.
I would like to give some examples of Led Zeppelin songs that use Tritone substitution! Obviously Since I’ve Been Loving You uses the tritone of V, I’m Gonna Crawl actually uses the EXACT same progression as Dream a Little Dream of Me just without the dominant 7ths, and an early version of In The Light actually has the “Toxic” progression played on the clavinet with an Amin7 to a C6 to a B7 to a Bbmaj#11!!
The tritone sub of V/V is also the German 6th chord.
You were really cooking with that outro piece!
🙏
You could have mentioned “If I fell” with 2 tritone substitutions in the first eight bars you treated in another video a few years ago, a really ambiguous tonality beginning for a pop song ever ! (sorry for my english, I am a french follower)
The way I remember making a tritone sub (which is perhaps a bit complex but well) was to take a dominant b5b9 chord, remove the bottom note and replace the new bottom note on the top. So, take G7b5b9, you have G – B – Db – F – Ab, now remove the G and respell the B to the top: Db – F – Ab – Cb and voilà, tritone substitution. Likewise if we were in C and wanted a tritone sub to the F, we’d go C7b5b9 C – E – Gb – Bb – Db, remove and respell and we get Gb – Bb – Db – Fb ie. Gb7 > F. So it is maybe a bit complicated but it works.
It’ rather #11 than flat5
I think it’s possible that Paul McCartney *_did_* know about tritone subs…he knows more theory than he lets on…
The song “Yellow Submarine” contains a monotone sub.
And here I thought this was about Heavy Metal replacing every interval with a tritone to make it more evil.
Bro, you’re on fire!!! You’re explanations cuts through ignorance like steel! 🙂
YES!! Thank you! Tritone substitution has been kind of a cloudy area for me ever since I heard of it. 🙏
Happy to help!
David Bennett threw a chair at my head when we were in jazz school together.
Commenting for exposure
Were you rushing or were you dragging?
Hearing a tritone will turn a mild-mannered musician into a chair-throwing hulk.
The Andy Williams recording of “Days Of Wine And Roses” uses a similar tritone sub as the Oasis song! The first three chords are F – Eb7 – D7 (instead of Dm which is used later in the song)
Dear David, your entire channel content is the equivalent of going to a music university. Thank you so much, and let me know anytime you plan traveling to Brazil.
After knowing this subject for 25 years, watching the video was the first time I remember noticing that the tritone sub could also be thought of as the Dominant 7 alt (b5,b9). It doesn’t change the function at all but thinking of it this way makes even more dominant than a dominant 7 in that all the notes have half-step resolution and things line up numerically a little better than a dom7 voice-leading G7-C= 3>1 b7>3 // G7(b9,b5)>C= b9>5, 3>1, b5>1, b7>3, 1>1 so essentially, with SATB voicing you have 3 resolutions to the root note, and the other notes moving by half step to the 3rd and 5th making it demonstrably, more dominant than the dominant chord. It makes me think the TT sub in this context is built on the H-W diminished scale of C rather than the Mixolydian scale of the secondary dominant’s key, suggesting modal interchange of C rather than the way it functions then the TT sub has a secondary dominant function. Great video, I’ll probably be thinking of further reaching implications for the next hour as I warm up with some arpeggiations of different voicings for TT subs within the progressions of the video.