tritone substitution origins
TRANSCRIPT
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In its most common application, tritone substitution refers to the replacement of one dominant
chord with a second dominant chord with its root a tritone away. For example, the replacement of
a G7 chord with a Db7 chord. Very often, the tritone sub will be used when the dominant chord
in question is resolving to a tonic chord (C major in the previous example), although this is not
always the case. There are many other types of tritone substitutions, but this is the most basic and
common usage. During our study of tritone subs, we will get into the reasons why they work, andhow jazz musicians have used them both in composition and improvisation.
While not immediately applicable to our study of tritone substitutions, I thought it would be fun
to begin by looking at the origins of this sound. There are two types of chords used in harmonic
progressions by composers especially of the Classical and Romantic periods, to which the sound
of the tritone substitution can be attributed. While they do not technically function as the tritone
sub that I described in the previous paragraph, you can see and hear the similarities.
The first of these chords is known as the
Neapolitan 6th. Lets look at how this chord isderived through the movement of one melodic
voice. Start with a simple iv-V-i progression in
c minor. So, Fm-G-Cm (figure 1). In root
position, the iv chord has the C in the highest
voice. By moving the C up a half step, you
can change that chord to a Db major chord in
first inversion (figure 2). This is called a
Neapolitan 6th chord, because chords in first
inversion are referred to as 6th chords. This
has to do with the intervallic relationship of a6th between the bottom note (in this case F),
and the top note (in this case Db). We now
have a progression that looks like this: Db/F-
G-Cm. You will notice that the Db/F chord
functions as a predominant chord going to the
dominant chord (G), then finally resolving to
the tonic chord (Cm).
Remember the tritone sub from the first paragraph? G vs. Db. Although a Neapolitan 6th chord
does not replace a dominant chord, as in a tritone sub, it does have that special sound that we can
relate to the sound of a tritone sub. This is due to the fact that it is a chord whose root is a half
step away from the tonic (Db to C).
The second type of chord that can be considered a forerunner to the tritone substitution is called
an Augmented 6th chord. This chord can also be derived from a basic chord progression where
the movement of one melodic voice can create the change of sound. This time, start with the
following progression: iv6-V-i in c minor. So, Fm/Ab-G-Cm (figure 3). Youll notice that we
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have a iv chord in first inversion to begin
with this time, so its almost the same
progression that we started with when
discussing the Neapolitan 6th chord. Again,
lets focus on the first chord in the
progression. In first inversion, this chord hasthe F in a higher voice. By moving the F up a
half step, we get an F# which creates the
interval of an augmented 6th with the Ab in
the bass (figure 4). This incomplete chord is
called an Augmented 6th chord, or more
specifically, an Italian +6 chord. If we spell it
from the bottom up, and use the enharmonic
equivalent of F#, which is Gb, youll notice
that we are looking at an Ab7 chord without a
5th. Try playing it on the piano: youll hearthat it sounds like a dominant chord. In fact,
the chord 5th can be omitted from many
chords without changing the basic sound.
Looking at the context of the Italian +6 chord
in modern-day terms, you have a progression that is essentially Ab7-G-Cm.
So wheres the tritone substitution? This time we are observing the relationship between the first
and second chords, Ab7 and G. Youll notice again the same half step relationship between the
roots of the chords that we had before with Db and C. This is the telltale sign of a potential
tritone substitution! Working backwards, check to see if Ab would be a tritone sub of the
dominantof G. Well, the note a tritone away from Ab is D, and since D is the dominant chord inrelation to G, then Ab would be the tritone sub. In this case, it just happens to be a dominant of a
dominant which we call asecondary dominant. Confusing, I know! But the point is that you can
have tritone substitutions in many different situations, although they usually function as
dominant chords of some sort.
There are two more special types of Augmented 6th
chords besides the Italian +6. These are the German +6
and the French +6. Both share the three tones which make
up the Italian +6 chord. The German +6 chord (figure 5)
adds the diatonic minor third scale degree and the French
+6 chord (figure 6) adds the diatonic second scale degree.
Keep in mind that these are the scale degrees of the key of
the progression, not the root of the chord. So in our
progression from before, the minor third would be an Eb
and the second would be a D. The German +6 chord, if
looked at from a modern standpoint, would be a complete
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dominant 7th chord. The French +6 chord could then be
viewed as a dominant 7th chord with a flatted 5th. We see
this type of chord all the time in jazz!
Because the German and French augmented 6th chords
share the same basic tones as the Italian +6 chord, theyhave the same harmonic function with just a subtle
change of color.
The reason why both Neapolitan 6th chords and Augmented 6th chords are shown in minor keys
is because that is where they were born. This does not mean that they cannot occur in major
keys, although some pitches have to be borrowedfrom the minor key in order for these sounds to
occur. In the previous examples, we used minor iv chords and changed one note in order to attain
the new types of chords. In order for this to work in a major key, we would have to borrow the
Ab from the minor key instead of using the A that is already present in the major IV chord.
Likewise, we would have to borrow an Eb if we chose to use the German +6 chord, because itrequires that pitch in order sound the way it does. In jazz we dont really think about borrowing
from minor keys if we are in a major key, because it happens so often! Think about the 7th
measure of Cherokee. The tune is in concert Bb major and the chord in measure 7 is an Eb
minor chord. Eb minor is a borrowed chord from Bb minor, because it wouldnt naturally exist in
the key of Bb major.
Finally, I would suggest playing through all of the examples on the piano (slowly is fine!) to get
an idea of how these chords function. These sounds are probably already familiar to you even if
you never knew what to call them, or how they worked.