{"id":12462,"date":"2016-02-20T00:00:00","date_gmt":"2016-02-20T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=12462"},"modified":"2024-10-14T05:59:50","modified_gmt":"2024-10-14T13:59:50","slug":"tritone-substitution-101","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/tritone-substitution-101\/","title":{"rendered":"Tritone Substitutions 101: Fifth vs Half Step Equivalence"},"content":{"rendered":"

In this post, I’ll be showing you the equivalence between fifths and half steps in chord progressions.<\/p>\n

We recently began a discussion on cyclical progressions<\/a> in a previous post where I showed you how we can create predictable chord progressions by root movements in fifths.<\/p>\n

The 2-5-1 Progression: Cyclical Progression In Fifths<\/h2>\n

Using the musical clock:<\/p>\n

\"circleoffiths1\"<\/p>\n

Root movements follow the musical clock counter-clockwise (in fourths)…<\/p>\n

C to F:
\n
\nF to Bb:
\n
\nBb to Eb:
\n
\nEb to Ab:
\n
\n…and on and on.<\/p>\n

One classic example of cyclical progressions in fifths is the 2-5-1 chord progression. In the key of C major, the 2-5-1 chord progression is a root movement of D:
\n
\n…to G:
\n
\nto C:
\n
\nD to G is a downward movement of a fifth, and G to C is also a downward movement of a fifth.<\/p>\n

Suggested reading: Nine Variations of the 2-5-1 Chord Progression<\/a>.<\/p>\n

The strongest link of the 2-5-1 chord progression is the part that moves from chord 5 to chord 1 (aka – “5-1 chord progression”), which is typically a downward movement in a fifth.<\/p>\n

But in this post, I’ll be showing you an alternative way to move to the 1 chord.<\/p>\n

Skeleton In The Chordboard<\/h2>\n

One of the most helpful things in chord recognition is the ability to master and remember the third and seventh (aka – “the skeleton<\/a>“) of all chord qualities in all keys.<\/p>\n

Although this may take a considerable amount of time and effort, it is worth the time and effort.<\/p>\n

Suggested Reading: How To Play Seventh Chords With Just Two Notes<\/a>.<\/p>\n

A chord’s skeleton consists of only the most important tones. These tones are considered important because the quality<\/em> of the chord depends on them.<\/p>\n

In a 5-1 chord progression (which is the strongest link in the 2-5-1 chord progression) in the key of F major, chord 5 is the C dominant seventh:
\n
\nThe third and seventh tones of the C dominant seventh chord are E and Bb:
\n
\n…respectively.<\/p>\n

These tones make up the chord’s skeleton and to a large extent, are responsible for the quality of the chord being dominant. Heck, the skeleton of the C dominant seventh chord (and every other dominant seventh chord) is a diminished fifth (aka – “tritone<\/a>“) interval.<\/p>\n

The diminished interval is one of harshest intervals in music and was once considered as the devil in music<\/a> because of its high degree of instability.<\/p>\n

Unstable chords<\/em> in music tend to move towards stable ones. It is the instability of the dominant seventh chord (of the fifth degree) that pulls it towards chord 1.<\/p>\n

Summarily, the dominant seventh chord is a discord (a chord that sounds unpleasant) because its skeleton is tritonic<\/a>.<\/p>\n

Tritone Substitutions<\/h2>\n

In a 5-1 chord progression, it is possible to substitute chord 5 with another dominant seventh chord whose root is an augmented fourth lower.<\/p>\n

The enharmonic interval of the augmented fourth interval is the diminished fifth interval we mentioned earlier as the skeleton of the dominant seventh chord.<\/p>\n

Whether we say an “augmented fourth” or “diminished fifth” interval in music, both are related to the tritone. Check out this post on augmented fourths and diminished fifths<\/a>.<\/p>\n

Here’s a breakdown of the substitution in the key of C…<\/strong><\/p>\n

Instead of the regular 5-1 pull from the G dominant seventh chord:
\n
\n…to the C major seventh:
\n
\n…we’ll substitute the G dominant seventh chord with another dominant seventh chord whose root is an augmented fourth lower.<\/p>\n

An augmented fourth below G:
\n
\n…is Db:
\n
\nTherefore, we’ll be substituting the G dominant seventh chord with the Db dominant seventh chord, whose root is an augmented fourth lower.<\/p>\n

Chord substitution is the use of a chord (related or foreign) to replace another chord. The goal of chord substitution is to create a more interesting and contrasting harmony.<\/p>\n

Simply because the augmented fourth is synonymous with the tritone, this substitution is called a tritone substitution<\/em>.<\/p>\n

A tritone substitution is the substitution of a dominant seventh chord with another chord whose root is a tritone (augmented fourth) lower.<\/p>\n

Attention:<\/strong> Intervals are the building block of chords. If you’re still wondering how we got Db as an augmented fourth interval below G, then you need to [thrive_2step id=’11353′]subscribe to our early bird list<\/span><\/span>[\/thrive_2step] to know when we’re releasing our latest comprehensive workbook on the study of intervals.<\/p>\n

“Why Is It Possible To Make That Chord Substitution?”<\/em><\/h2>\n

The chord substitution we just did is possible because of the enharmonic relationship<\/a> between the skeleton of G dominant seventh and Db dominant seventh.<\/p>\n

Check it out.<\/p>\n

Here’s the G dominant seventh chord:
\n
\n…and here’s the Db dominant seventh chord:
\n
\n…as well.<\/p>\n

Using the A and B voicing concept<\/a>, we can play the G dominant seventh in B voicing:
\n
\n(In the B voicing of a chord, the notes are rearranged in such a way that the seventh comes before the third.)<\/p>\n

…and the A voicing of the Db dominant seventh chord:
\n
\nWhen both chords are played side by side with their root and fifth (G-D in the case of G dominant seventh and Db-Ab in the case of Db dominant seventh chord) removed, this leaves only their respective skeletons.<\/p>\n

The skeleton of the G dominant seventh chord in B voicing is F-B:
\n
\n…an augmented fourth<\/strong>.<\/p>\n

…while the skeleton of the Db dominant seventh chord is F-Cb:
\n
\n…a diminished fifth<\/strong>.<\/p>\n

Treat as important… Inversion of Intervals:<\/strong><\/p>\n

All augmented fourth intervals, when inverted, become diminished fifth intervals.<\/p>\n

Inversion of F-B which is an augmented fourth would produce B-F:
\n
\n…a diminished fifth interval.<\/p>\n

In the same vein, the inversion of F-Cb (a diminished fifth interval), would produce Cb-F:
\n
\n…an augmented fourth interval.<\/p>\n

This is the relationship between the tritone vs the augmented fourth and diminished fifth intervals<\/a>.<\/p>\n

For all intents and purposes, the F augmented fourth (F-B) and the F diminished fifth (F-Cb) are a tritone – three adjacent whole steps apart<\/strong>, irrespective of their harmonic role as the skeleton of the G dominant seventh chord and the Db dominant seventh chord.<\/p>\n

F-B and F-Cb are enharmonic intervals<\/a>.<\/p>\n

Owing to the enharmonic relationship between the skeleton of G dominant seventh chord (F-B) and that of the Db dominant seventh chord (F-Cb), this substitution can hold.<\/p>\n

Final Words<\/h2>\n

There are several reasons why we can substitute the dominant seventh chord with another dominant seventh chord and here are two of them:<\/p>\n

Fifth and Half Step Equivalence<\/h3>\n

Cyclical progressions feature a downward movement of the root of chords in fifths.<\/p>\n

If we put the concept of tritone substitution to work, we may not have to move in fifths, we’ll just achieve the same result by moving in half steps. Check this out…<\/p>\n

Instead of playing “D minor seventh – G dominant seventh – C major seventh,”<\/em> where the root moves in descents of fifths, we’ll have a smoother root movement in half steps from the D minor seventh:
\n
\n…to Db dominant seventh:
\n
\n…then to the C major seventh chord:
\n
\nUsing the concept of tritone substitution, we can make cyclical progressions move in half steps (D-Db-C) instead of in fifths (D-G-C) and still have the same result.<\/p>\n

Altered Extensions<\/h3>\n

Use of the concept of tritone substitution adds the b9 and b5 tones (aka – “altered extensions”) to the basic dominant seventh chord.<\/p>\n

Further reading: Altered Chord Voicings<\/a>.<\/p>\n

Substituting the G dominant seventh chord:
\n
\n…with the Db dominant seventh chord:
\n
\n…in addition to the skeleton of the Db dominant seventh chord:
\n
\n…other tones – the root and fifth – are the b5:
\n
\n…and the b9:
\n
\n…tones of the G altered chord. We’ll go into more details in another post.<\/p>\n

Until then.<\/p>\n","protected":false},"excerpt":{"rendered":"

In this lesson, we’ll be exploring tritone substitutions and the importance of fifth and half step equivalence.<\/p>\n","protected":false},"author":9,"featured_media":22933,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,416,9],"tags":[700,120],"class_list":["post-12462","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-experienced-players","category-piano","tag-tritone-substitutions","tag-tritones","post-wrapper","thrv_wrapper"],"yoast_head":"\nTritone Substitutions 101: Fifth vs Half Step Equivalence - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"In this lesson, we'll be exploring tritone substitutions and the importance of fifth and half step equivalence.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link 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