How to Add Tritones

So, we've been looking at reharmonization for awhile. Let's continue.



Because the tritone occurs only in the dominant chord, its presence defines a dominant chord. A tritone is a very unstable interval. It sounds as if it wants to go someplace, which is why V chords want very much to resolve (often to a I chord). If you play just the two notes of the tritone, they sound like a V chord, incomplete though the chord may be. What's so unusual about a tritone is that it's the 3rd and 7th of not just one, but two dominant 7th chords.

Example:

G/ BF
Db/ CbF


B and F, the 3rd and the 7th of G7, are the same notes as F and Cb, the 3rd and 7th of Db7. (B and Cb are enharmonic-the same notes, just spelled differently.) Because the tritone (the 3rd and 7th) of both G7 and Db7 is the same, G7 and Db7 can substitute for one another.


Quite often this tritone substitute V chord is preceded by its II chord, creating a II-V progression. 


Here's the II-V-I in C


D/CF
G//BF
C/BE


Here's the same II-V-I, but with Db7, the tritone substitute, replacing G7.


D/CF
Db/CbF
C/BE


Here's Ab-7 preceding Db7


D/CF
Ab/CbGb
Db/CF
C/BE


With Ab-7, Db7, the tritone substitute II-V, replacing D-7, G7:


Ab/CcGb
Db/CbF
C/BE


The 3rd and 7th of a V chord always form the interval of a tritone, no matter which note is on top. Why? Because a tritone is exactly half an octave and if you invert it (put the top note on the bottom, or vice versa) it is still a tritone. The roots of the G7 and Db7 chords are also a tritone apart.


Another reason to play a tritone substitution is that it often makes the melody note more interesting.  There are two reasons for playing tritone substitution on the melody of a tune:


* To create a chromatic bass line
* To make the melody note more interesting


I learned to play tritone substitution in blues. Hoping to cover this in the next post.



I have read the following quote many times and have heard this explanation on Jamal Hartwell's Tritone Xtravaganza  and also you'll find the reference here:
The Tritone

"The Devil’s Interval, they called it when it was banned by the Church in times long past. Then someone realized it’s a really cool interval, and lifted the ban. Or something like that. Six semitones from the root, C-to-F#, this interval is found in a lot of heavier music.
The ascending tritone, otherwise known as the flat fifth (a name that just doesn’t have the same dramatic flair), can be associated with The Simpsons (The Simpsons – I’ve italicized the syllable where the tritone is sung) or Black Sabbath’s Black Sabbath.
Descending, the tritone can be associated with Jimi Hendrix’s Purple Haze or YYZ by Rush (if you can listen without getting distracted by their odd rhythm and timings)."

Right now Jermaine Griggs is having a sale with free shipping on the 300 pg. course book (that I have been talking about. You know, the theory book) and giving away for free Gospel Keys 101 (great Dvd for harmonizing the melody). You pay $52.00 Click here for more info Sale!


All the best,
LadyD
"The beautiful thing about learning is that no one can take it away from you." B.B.King

Reharmonizing V as II-V

Let's continue with reharmonization.



Reharmonizing V as II-V

Many of the standard tunes in the jazz repertoire were written in the 1920s and 1930s. Those tunes consist largely of V-I progressions. II-V and II-V-I progressions were used only by the more sophisticated songwriters of that time. One of the first reharmonization techniques used by the jazz musicians of the 1930s was to proceed a V chord with its II chord to create a II-V progression. Reharmonizing V as II-V  makes a tune sound more modern, and expands the improvisational possibilities.

Here's 2 examples of 2 measures from the song "I Remember You", written by Victor Schertzinger. The V chord (E7) has been proceeded by a II chord (B-7).

F/ AE
E/ G#DE 

Then Play:
F/AE
B/ADE
E/G# 


Tritone Substitution



Reharmonizing can mean replacing one chord with another, or using a substitute chord. A substitute chord is just what it sounds like: a chord that substitutes for the chord written on the lead sheet.

Here's four bars of "All The Things You Are" by Jerome Kern. I"ll substitute the A7 for Eb7. 

F/EbAb
Bb/AbDb
Eb/DbG
Ab/CG


Then Play:


F/EbAb
Bb/AbDb
A/C#G
Ab/CG


Now Try This:


F/EbAb
Bb/AbDb
E/DG
A/C#G
Ab/CG


Listen for the chord progression and tell me, does  it sounds smoother? More modern? Do you like it? This is the sound of tritone substitution.

Jermaine Griggs has a very nice theory course book that I refer back to many times. He has a section on altering chords that is very good. For more information, visit Playing Altered Chords By Ear.

Here's the II-V-I in the Key of C.

D/CF
G/BF
C/BE


Then hear how the Db7 for G7 creates a chromatic bass line: D, Db, C.


D/CF
Db/CbF
C/BE


Here's how tritone substitution works: As you have learned before, the two most important notes in major, minor, and dominant 7th chords are the 3rd and the 7th. These notes determine the quality of, or differences between those chords. 

Let's review some rules: 


1. A major 7th chord has a major 3rd and a major 7th.
2. A minor 7th chord has a minor 3rd and a minor 7th.
3. A dominant 7th chord has a major 3rd and a minor 7th

Tritone Substitutions

You may be interested in Jamal Hartwell's Tritone Xtravganza Dvd, especially if you like tritone sounds and are an intermediate-advanced player. For more information, visit Tritone


Advanced players, take a look at this advanced reharmonization technique chord chart and video of Thelonius Monk Round Midnight

Here's another great site for reharm practice with midis:
Mallet Jazz
 
Next time, I'll list various combinations of altered chords.

Until then,
-- LadyD


"The beautiful thing about learning is that no one can take it away from you." B.B.King

Piano Patterns: Do You See Them?

Image via Wikipedia

When you are sitting at your keyboard or piano, do you see patterns on those keys? Here's what I mean:
1. Chromatically the notes from C to E are the mirror image of the notes from F# to B flat with F and B natural left out. If you number those notes from 1 to 5 in each pattern, the same number in each pattern is the Tri-tone. C = 1, F# = 1....tri tone.  Use this visual to find  tritone substitutions.
2. Take the first five notes of the major scale. These keys are mirror images of each other:
D flat and D
E flat and E
F and F#
A flat and A
B flat and B
3. Remember the tri-tone(s) B-F and F-B because it is the only tri-tone(s) with two white notes. All the others have one black and one white note as in your first pattern.
4. When you look at the circle of fifths, you notice that all the black notes are consecutive: Bb-Eb-Ab-Db-Gb, which you can use to help remember the circle. Try to think about why all the black notes would be consecutive in this circle. What you see is that the circle of fifths consists of the two whole tone scales alternated:
C - Bb - Ab - Gb - E - D
F - Eb - Db - B - A - G
It seems to be easier for me to always think of the circle of fifths in the counter-clockwise direction. Normally I am thinking of the dominant to tonic direction so that is why it seems more natural in this direction. If you learn the circle in this direction, it also gives you the ii-V-I sequence starting from any position as the ii chord. Or you can start two positions earlier and it gives you a iii-vi-ii-V-I turnaround sequence.
Within the circle of fifths the pattern B-E-A-D-G is repeated, first with all flats, then with all naturals, then you just have to add C & F and you have the whole circle (that's how I remember it). It also helps that the first four letters of that sequence spells a word. Once you know the circle and can picture it like the numbers on a clock as it is most often represented, you can look at the position directly opposite to get the tritone interval e.g. if C is at 12 O'clock, look at 6 O'clock to get its tritone interval.
5. Also, let us take the pentatonic scale 1, b3, 4, 5, b7. These keys are the mirror image as far as black key white key notes.
C and Db
D and Eb (E and A are the same as D)
F and F#
G and Ab
Bb and B natural
All the best,
LadyD
Charlie Parker once said "Learn the changes and then forget them."

Related articles by Zemanta

• Practice with the Circle of Fifths (pianodiana.blogspot.com)
• Learn to Play the Flatted 6th on Piano (pianodiana.blogspot.com)
• Free Improvisation in D Major (Ionian Mode) -- piano solo (pianodiana.blogspot.com)

Perfect 5th and Enharmonic Use of Tri-Tones

Image via Wikipedia

Question: What's a tritone? I've heard this was considered dangerous music and banned by the church in the middle ages. - J.P.

Answer: Strictly speaking, it's an augmented fourth (such as C up to F#), and is called that because it's three whole scale tones in succession (for example, C-D, D-E, E-F#). But a diminished fifth (such as F# up to C) is just a tritone turned upside-down (inverted) and is treated in traditional music with the same care as the tritone. The tritone was in traditional counterpoint studies known as "the devil in music," and was avoided as a difficult-to-sing-in-tune awkward melodic interval. You may read stories at unreliable internet sources about this interval being "banned by the Catholic Church" but really it just presented a technical problem in composition and performance, and so the style "rules" studied by budding musicians advised that one should not use it. Nonetheless, it was used on occasion, and some theorists thought it useful when handled well.

Leonard Bernstein made a little joke out of this in West Side Story - in particular with his song "Maria," whose melody begins with a tritone, Eb-A, that is lovingly repeated.

Here are Tri-tones and 7th chords. They involve the 3rd and 7th or the other way around. Think in terms of the left hand where you're playing your chords. The left hand tells the right hand what to do. Here are some examples. Try these:

CG/C

DA/D

EB/E

FC/F

GD/G

AE/A

BGb/B

Then go to the black keys:

DbAb/Db

EbBb/Eb

GbDb/Gb

AbEb/Ab

BbF/Bb

Then try this:

EBb/C

GbC/D

AbD/E

AEb/F

FB/G

DbG/A

EbA/B

FB/Db

GDb/Eb

EBb/Gb

GbC/Ab

EbA/Bb

A great resource that I have bought online from Jamal Hartwell regarding tritones can be purchased here:

Learn the X-treme Way to Play Worship by Ear!

Thanks to all my readers and your wonderful messages I have received. I decided to post answers to your music questions instead of replying individually to your messages. Thanks for understanding. I hope that you enjoy practicing tritones and loving the sounds!

All the best,
~ LadyD
Powered by Disqus

No Weapon- Fred Hammond

I love the song No Weapon by Fred Hammond. I can listen to it over and over... same for you? Fred Hammond's No Weapon Formed Against Thee Shall Prosper is based on the scripture Isaiah 54:17. The song is in the Key of Ab. I wanted to share the piano chords with you along with this great piano tutorial by hns music on YouTube. You will learn so much from this great teaching video and you probably will find yourself wanting to emulate his playing style, very smooth and a pleasure to hear.
Listen for the tritones, so professional!

* No Weapon



* No Weapon Lyrics and MP3

(Chorus)
No weapon formed against me shall prosper, it won’t work
No weapon formed against me shall prosper, it won’t work


God will do what He say He would do
He will stand by His word
And He will come through
God will do what He say He would do
He will stand by His word
And He will come through

God will do what He said He would do
He’s not a man that He should lie
He will come through
God will do what He said He would do
He will stand by His word
He will come through

(Bridge)
Oh I won’t be afraid of the arrows by day
From the hand of the enemy
I can stand my ground with the Lord on my side
For the snares they have set will not succeed

(Repeat Chorus)

Don’t be afraid
Of the arrows or the snares
Set by your enemies
If you believe it say, ooo, Ooo

There just ain’t one,
There just ain’t one weapon, no
There just ain’t one
There just ain’t one weapon, no

http://www.actionext.com/names_f/fred_hammond_lyrics/no_weapon.html

* No Weapon Chord Chart


No Weapon-Chords
By: King David, M.U.S.I.C

No Weapon-Fred Hammond Key:Ab

Eb/Eb-Ab-Bb-Eb.............No-o-o
Ab/Eb-Ab-C...............weapon
G/Eb-G-Bb...............formed a-
F/Eb-Ab-C..................gainst me
Eb/Eb-G-Bb..................(filler) shall
Db-F-Ab/C-F-Ab................prosper
C-C-Eb-Ab....................no
B/F-Ab-Db.....................it
C/Eb-Ab-C.....................won't
Db/F-Ab-Db.............work
Eb/Eb-G-Bb................(filler)
F/Db-F-Ab...................(filler)
G/Eb-G-Bb.....................No
Ab/Eb-Ab-C...................weapon
C-G-Bb/E-Ab-Bb-Eb..................formed a-
F-C-Eb/Eb-Ab-C......................gainst me
Eb-Ab-C/F-A-C..................(filler) shall
Db-F-Ab/C-F-Ab.....................prosper
C/C-Eb-Ab...................no
Bb/Db-F-Ab.....................it won't
Eb/Db-Eb-G-Bb...................work

Ab/Eb-Ab-C....................God will
C-G-Bb/E-Ab-Bb-Eb................do, what He
F-C-Eb/F-Ab-C.................said He will
Eb-Ab-C/F-A-C................do. He will
Db-F-Ab/C-F-Ab...............stand by His
C/Bb-Eb-Ab..................word
Bb/F-Ab-Db......................He
C/Eb-Ab-C.......................will
Db/F-Ab-C................come
Eb/Eb-G-Bb.......................through
*repeat above chords. When you get to through the 2nd time. Go to :For I
Eb/Db-Gb-Bb................won't be afraid of the
F/C-F-A.................arrows by
F/C-F-A.....................day
G/Eb-G-Bb.....................from
A/C-F-A.........................the
Bb-F-Ab/Db-F-Bb..................hand of my
Ab/Eb-Ab-C..........................ene-
Gb/Db-Gb-Bb.....................my. I can
Eb/Db-Gb-Bb...............stand my ground with the
F/C-F-A................Lord on my side
G/Eb-G-Bb...................(filler)
A/C-F-A......................(filler) For the
B-F-Ab/Db-F-Bb................snares they have set will
Eb/Eb-G-Bb....................not succeed
*Go to :No weapon. The modulation come on- God will do. Raise everything 1/2
step to A natural.
*Play the chorus chords for: There just ain't one. There just ain't one weapon
,no(vamp)

I hope that this blesses you.

http://www.earnestandroline.com/Music/Chords/noweapon.html

* Related Video Tutorials of different playing styles on No Weapon:


http://www.youtube.com/watch?v=L752tr-QE3w


http://www.youtube.com/watch?v=wWJkHQchVPA


http://www.youtube.com/watch?v=SyN3hJ--e_s

Christian sheet music - piano, vocal, karaoke, and more at Sheet Music Plus.







Powered by Disqus

Tritones

Tritones are very important, especially if you have a bass player in your band. Your can utilize your left hand with tritones and continue to play chords or scale runs with your right hand.

C bass goes with E + Bb
Db bass goes with F + B
D bass goes with Gb + C
Eb bass goes with G + Db
E bass goes with Ab + D
F bass goes with A + Eb
Gb bass goes with Bb + E
G bass goes with B + F
Ab bass goes with C + Gb
A bass goes with Db + G
Bb bass goes with D + Ab
B bass goes with Eb + A
C bass goes with E + Bb
Db bass goes with F + B

* Tritones are symmetric.

That means that E+Bb can also be played as Bb+E.

or Gb + C can be played as C + Gb.

* Since there are really only 6 unique tritones, each tritone shares TWO bass notes.

For example, E+Bb / or Bb + E is used both with a “C” or “Gb” bass.

or D + Ab / or Ab + D is used both with a “Bb” or “E” bass.

Practice these tritones with your left hand and add some chords with your right.

Also, check out my blog entry on tritone substitutions.


http://ladydpianoblogspot.com/search/label/tritone%20substitutions

"So to sum up Tritones.. they are nothing but a framework that you add to.. Let me make this REALLY clear.. the Tritone by itself is not necessarily PHAT.. it's the extension and alterations that you add to them that make it PHAT!!"


http://www.learngospelmusic.com/forums/index.php/topic,21463.0.html

Also, I might add here's a great discussion with Jermaine Griggs on Tritones


http://zone.hearandplay.com/index.php?name=PNphpBB2&file=viewtopic&t=53



http://www.LadyDpiano.com

Progressions and Theory

Here is a handbook of videos, I've put together, from many artists on YouTube that teach chord progressions and the theory behind them!
* 7-3-6-2-5-1-4 Progressions in Eb Part 1 (ddw4e)

* 7-3-6-2-5-1-4 Progressions in Eb Part 2 (ddw4e)

* Common Progressions in Db

* Piano Chords I IV V- In The Mood (pianomother)


* Free Piano Lessons- Beginning Chords (pianosecrets)

* Passing Chords and Progressions by Kevin "K.C." Conley (prettysimplemusic)

* Runs on a 7 3 6 2 5 1 Progression (prettysimplemusic)

* Free Piano Lessons- Coordinating Your Left & Right Hands (pianosecrets) Amazing Grace

* Blues on Piano in G for Beginners (jbmaggs)

* Tritone (Jamal Hartwell)
http://www.hearandplay.com/at.cgi/441295/urban


http://www.LadyDpiano.com

What's A Tritone?

Q: What's a Tritone?
A: An interval composed of three whole tones.
tritone
In music, the interval of the diminished fifth, exactly half the octave, and considered in the Middle Ages to be the moral antithesis of the octave's perfect consonance, or ‘diabolus in musica’ (devil in music). Its prominence during the late 19th and early 20th centuries helped to undermine the remaining foundations of tonality, as in Debussy's Prélude à l'après-midi d'un faune (1894).
tritone
Sounds scary? Hear for yourself and find out why Tritones were banned from Christian music several hundred years ago and why they have now been embraced by contemporary gospel musicians and used in almost every modern song!

My friend, Willie Myette, wrote a great article on Tritones. He says "Tritones definitely add spice to your playing. But, many people are confused when it comes to using them."

http://www.jazzpianolessons.com/articles/tritones.php
Tritones are the 3rd and 7th of a chord. The most efficient and musical method of right hand fill for any 7th chord is to add the Tritones below the melody. The left hand only has to provide the root of the chord. Have
a listen:

http://www.keyboardedu.com/Pamphlets/pamtritones.html
In this free video series (there's 16 videos!), watch as expert piano player Ryan Larson teaches how to play tritone substitutions. Tritone substitutions are often used in jazz music, in which a chord progression of a dominant 7th chord that is three whole steps from the original dominant 7th chord, creating a chromatic root movement in popular jazz chord progressions. Have a look:

http://www.expertvillage.com/video-series/3911_tritone-substitutions
What I learned about Tritones is that to use a tritone in a ii-V-I, first start by finding the tritone of the V7 chord's root. 1. What is the V7 chord? [It is G7]
2. What is the root of G7? It is G
3. What is a tritone note of G? The tritone is Db
To find the tritone easier, first find the 5th (D), then go down a 1/2 step (Db). I think it is easier to think of it this way rather than sharping the 4th.
Tritone Substitution
Each dominant seventh chord has a tritone. For example in the G7 chord:
We find the tritone between notes B and F.
In the Db7 chord:
The tritone is found on notes F - Cb. As you may have noticed, these chords share the same tritone (F = F and B = Cb):
Because of the fact that they share the same tritone, one chord can substitute the other. This is called in jazz music theory tritone substitution. Note that the chords are one tritone apart (G - Db).
A friend shared this with me. I hope you find this useful!
Finding a passing tritone:
Here’s a useful shortcut for tritone work today. Lots of people are/were confused as to forming a decent sounding tritone.
The tritone is basically two notes 3 whole steps apart from each other e.g. F and B played together form a tritone. Tri meaning 3.
The tritone can be used as a passing tone in gospel and jazz movements. It’s usually that dynamic sounding chord you usually hear especially in spacious movements i.e.
"2-5-1" may become "2 - WOW! - 5 - WHAT? - 1"
The Dynamic chord i.e. passing tone tritone is formed like this:
1. The basic structure to give the potent sound is basically a ditone (2 notes played together 2 whole steps apart). Added harmonics are formed by playing them at least one octave apart though. The major chord (right hand) is the right most note in the ditone. Whereas the tritone you'll play with the major chord is based on the left most note.
So basically for an A-Major passing tone you'll play the A-major chord with your right hand with the F tritone.
2. Form the tritone. Remember F + (3 whole steps) = B. So the tritone is F+B. Play this with your left hand.
3. For the major chord, I advise you play your major chord one inversion down- but play what you're used to. So right hand plays E+A+Db.
4. The final result would thus be: F+B // E+A+Db. Quite dynamic.
Bearing all of this in mind, you should be able to figure any tritone (passing tone) you so wish e.g.
C tritone (passing tone) would be Ab+D // G+C+E



http://www.LadyDpiano.com

Tritone Xtravaganza

• 
  
  Add "instant flavor" and phatness to your chords by implementing just one secret that promises to set you apart from all other musicians!
  
  
• 
  
  Intensify your shouting music with explosive tritonic techniques that have never been broken down to a science... until NOW!
  
  
• 
  
  Master the keys to understanding tons of "bass-tritone" combinations on your left hand, freeing your right hand to play tons of other things!
  
  
• 
  
  Learn "insane" walk-up patterns that can be used to build up anticipation in any song! This is what separates regular musicians from those who know how to take the worship service to the next level!
•