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D‹7 G7 CŒ„Š7

D‹7 D¨7 CŒ„Š7

D‹7 D¨7

CŒ„Š7

A¨‹7 D¨7 CŒ„Š7

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Taking another look at the guide tones in the ii-V-I progression, we notice that the 3rd and 7th of the dominant chord form a tritone interval.

Motion of 'guide' tones (3rd and 7th)

3rd

7th 3rd

7th 3rd

7th

Tritone Substitutionm.j.mermikides@surrey.ac.uk

?Root Root

Root

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Since the tritone interval may be inverted. This implies that a dominant chord a tritone away may be substituted with the guide tones maintained (with an enharmonic adjustment).

3rd

7th

3rd

7th (B-nat = Cflat)

3rd

7th?

Root Root Root

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Notice that the tritone substitution dominant chord now resolves down a semitone rather than a 5th,When a 'sub V' resolves down a semitone, let's analyse it with a dashed arrow. Similarly, a min7 or min7(b5) chord going down a semitone to a dominant chord gets a dashed bracket.

IIm7

subV7

subV7 Imaj7

Imaj7

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SubVs may be preceded by min7 chords a 5th above

Tritone subs often have 9ths and /or #11 intervals added. The latter sometimes written as b5.

ww ww ww

w w w

ww wwb ww

w wb w

V V V V V V V V

V V V V V V V V

A¨‹7(b5) G7 CŒ„Š7

CŒ„Š7 D¨‹7(b5) G¨9(#11) FŒ„Š7 E‹7(b5) E¨9

D‹7 D¨9(#11) CŒ„Š7

FŒ„Š7A¨‹7 D¨9(#11) C7 A‹7 A¨7

G‹7 G¨7(b5) FŒ„Š7 A¨7 D¨7(#9) G¨7(#11) F%

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And occasionally standard dominants may be preceded by min7 (or min7b5) chords a semitone above.

V7

And substitute secondary dominants may also exist

Imaj7

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IIm7

And substitute secondary dominants may also exist, with related IIs of both types.

Imaj7 subV7/IV IVmaj7subV7/II

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Pick a key and write chord symbols for the following progression

subV7 Imaj7

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Imaj7 subV7/II IIm7 subV7 Imaj7

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Analyse in the key of F, the following progression and mark with symbols. It's a bit tricky...

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V V V V V V V V

V V V V V V V V

V V V V V V V V

V V V V V V V V

V V V V V V V V

V V V V V V V V+

2