devil’s interval has finally made it to church<\/a> and has not only become the toast of gospel music but of jazz music as well.<\/p>\n“Here’s the tritone in all twelve keys…”<\/em><\/p>\nC and F#:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,Fs,&color=999900&size=2\")
\nDb and G:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,Db,G,&color=999900&size=2\")
\nD and G#:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,D,Gs,&color=999900&size=2\")
\nEb and A:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,Eb,A,&color=999900&size=2\")
\nE and A#:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,E,As,&color=999900&size=2\")
\nF and B:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,F,B,&color=999900&size=2\")
\nGb and C:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,Gb,C&color=999900&size=2\")
\nG and C#:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,Cs&color=999900&size=2\")
\nAb and D:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=Ab,D,&color=999900&size=2\")
\nA and D#:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=A,Ds,&color=999900&size=2\")
\nB and E#:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=B,Es,&color=999900&size=2\")
<\/p>\n
The Resolution Of The Tritone To Major\/Minor Chords<\/h2>\n
Classical musicians have a unique way of resolving the tritone to major chords and I’ll be showing you that in this segment. However, take note that before you resolve a tritone, you must be able to know if it’s an augmented fourth or a diminished fifth.<\/p>\n
The resolution of the augmented fourth interval differs from that of diminished fifth intervals even though both are tritones.<\/p>\n
The Resolution Of The Augmented Fourth Interval<\/h3>\n
The earliest augmented fourth interval to be discovered is the interval between F and B:<\/p>\n
Classical musicians have a unique way of resolving the augmented fourth interval.<\/p>\n
\n- To a major chord<\/strong> by lowering the bottom note by a half step and raising the top note by a half step.<\/li>\n
- To a minor chord<\/strong> by lowering the bottom note by a whole step and raising the top note by a half step.<\/li>\n<\/ol>\n
“It’s Simpler Than It Sounds…”<\/em><\/p>\nThe augmented fourth interval (F-B):
\n
\n…is resolved by lowering the bottom note (F):
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,F,&color=999900&size=2\")
\n…by a half step (to E):
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,E,&color=999900&size=2\")
\n…and raising the top note (B):
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,B,&color=999900&size=2\")
\n…by a half step (to C):
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C&color=999900&size=2\")
\nAltogether, F-B:
\n
\n…resolves to E-C:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,E,C&color=999900&size=2\")
\nConversely, the augmented fourth interval (F-B):
\n
\n…can be resolved by lowering the bottom note (F):
\n
\n…by a whole step (to Eb):
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,Eb,&color=999900&size=2\")
\n…and raising the top note (B):
\n
\n…by a half step (to C):
\n
\nAltogether, F-B:
\n
\n…resolves to Eb-C:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,Eb,C&color=999900&size=2\")
\n“The Implication Of These Resolutions Can Further Be Understood By The Addition Of Bass Notes To The Intervals…”<\/em><\/p>\nExample #1 – Resolution To A Major Chord<\/strong><\/p>\nPlaying F-B:
\n
\n…over G on the bass:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=G,,&color=999900&size=2\")
\n…implies a Gdom7 chord:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=G,F,B,&color=999900&size=2\")
\nPlaying E-C:
\n
\n…over C on the bass:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,,&color=999900&size=2\")
\n…implies a C major triad:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,,E,C&color=999900&size=2\")
\nThe resolution of the tritone from F-B:
\n
\n…to E-C:
\n
\n…implies a 5-1 chord progression in the key of C major:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,F,G,A,B,C&color=999900&size=2\")
\n…from the Gdom7 chord:
\n
\n…to the C major triad:
\n
\nExample #1 – Resolution To A Minor Chord<\/strong><\/p>\nPlaying F-B:
\n
\n…over G on the bass:
\n
\n…implies a Gdom7 chord:
\n
\nPlaying Eb-C:
\n
\n…over C on the bass:
\n
\n…implies a C minor triad:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,,Eb,C&color=999900&size=2\")
\nThe resolution of the tritone from F-B:
\n
\n…to Eb-C:
\n
\n…implies a 5-1 chord progression in the key of C minor:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,Eb,F,G,Ab,Bb,C&color=999900&size=2\")
…from the Gdom7 chord:
\n
\n…to the C minor triad:
\n
\nLet’s also check out how classical musicians resolve diminished fifth intervals.<\/p>\n
The Resolution Of The Diminished Fifth Interval<\/h3>\n
Although the diminished fifth interval is for all intents and purposes a tritone, it has a different resolution. Inverting F-B (an augmented fourth interval):
\n
\n…produces B-F:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,B,F&color=999900&size=2\")
\n…a diminished fifth interval. Let’s round up by learning how classical musicians resolve the diminished fifth interval.<\/p>\n
In the resolution of the diminished fifth interval to a major chord<\/strong>, the bottom note is raised by a half step while the top note is lowered by a half step.<\/p><\/blockquote>\n“Check It Out…”<\/em><\/p>\nThe diminished interval (B-F):
\n
\n…is resolved by raising the bottom note (B):
\n
\n…by a half step (to C):
\n
\n…and lowering the top note (F):
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,F&color=999900&size=2\")
\n…by a half step (to E):
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,E&color=999900&size=2\")
\nAltogether, B-F:
\n
\n…resolves to C-E:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,E&color=999900&size=2\")
\nConversely, the diminished fifth interval (B-F):
\n
\n…can be resolved by raising the bottom note (B):
\n
\n…by a half step (to C):
\n
\n…and lowering the top note (F):
\n
\n…by a whole step (to Eb):
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,Eb&color=999900&size=2\")
\nAltogether, B-F:
\n
\n…resolves to C-Eb:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C,Eb&color=999900&size=2\")
\n“Let’s Add Bass Notes To The Intervals…”<\/em><\/p>\nExample #1 – Resolution To A Major Chord<\/strong><\/p>\nPlaying B-F:
\n
\n…over G on the bass:
\n
\n…implies a Gdom7 chord:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=G,,B,F&color=999900&size=2\")
\nPlaying C-E:
\n
\n…over C on the bass:
\n
\n…implies a C major triad:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,,,C,E&color=999900&size=2\")
\nThe resolution of the tritone (from B-F):
\n
\n…to C-E:
\n
\n…implies a 5-1 chord progression in the key of C major:
\n
\n…from the Gdom7 chord:
\n
\n…to the C major triad:
\n
\nExample #1 – Resolution To A Minor Chord<\/strong><\/p>\nPlaying B-F:
\n
\n…over G on the bass:
\n
\n…implies a Gdom7 chord:
\n
\nPlaying C-Eb:
\n
\n…over C on the bass:
\n
\n…implies a C minor triad:
\n![](\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,,,C,Eb&color=999900&size=2\")
\nThe resolution of the tritone from B-F:
\n
\n…to C-Eb:
\n…implies a 5-1 chord progression in the key of C minor:
\n
\n…from the Gdom7 chord:
\n
\n…to the C minor triad:
\n<\/p>\n
Final Words<\/h2>\n
Getting to this segment let’s me know that you’re serious about understanding the resolution of the tritone from a classical standpoint.<\/p>\n
I want to encourage that you learn the characteristic differences between the augmented fourth and the diminished fifth intervals because they resolve differently.<\/p>\n
Thank you for your time and see you in another lesson!<\/p>\n","protected":false},"excerpt":{"rendered":"
We’re covering the ins-and-outs of the resolution of the tritone from a classical point of view.<\/p>\n","protected":false},"author":9,"featured_media":22770,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[374,25,416,21,22,9],"tags":[2057,725,662,17,125,124],"class_list":["post-14349","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blues-music","category-chords-progressions","category-experienced-players","category-gospel-music","category-jazz-music","category-piano","tag-application-of-diminished-triads","tag-augmented","tag-augmented-fourth","tag-basic-songs","tag-diminished-fifth","tag-tritone","post-wrapper","thrv_wrapper"],"yoast_head":"\n
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