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The tritone substitution is a common chord substitution found in both jazz and classical music. Where jazz is concerned, it was the precursor to more complex substitution patterns like Coltrane changes. Tritone substitutions are sometimes used in improvisation —often to create tension during a solo. Though examples of the tritone substitution, known in the classical world as an augmented sixth chord , can be found extensively in classical music since the Renaissance period, [ 1 ] they were not heard until much later in jazz by musicians such as Dizzy Gillespie and Charlie Parker in the s, [ 2 ] as well as Duke Ellington , Art Tatum , Coleman Hawkins , Roy Eldridge and Benny Goodman.
The tritone substitution can be performed by exchanging a dominant seventh chord for another dominant seventh chord which is a tritone away from it. In tonal music, a conventional perfect cadence consists of a dominant seventh chord followed by a tonic chord. For example, in the key of C major, the chord of G 7 is followed by a chord of C. In order to execute a tritone substitution, a common variant of this progression, one would replace the dominant seventh chord with a dominant chord that has its root a tritone away from the original:.
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Franz Schubert 's String Quintet in C major concludes with a dramatic final cadence that uses the third of the above progressions. Christopher Gibbs , p. The effect is overwhelmingly powerful. The closing bars of the first movement of Schubert's Piano Sonata in A major, D use both a conventional perfect cadence and a cadence featuring a tritone substitution, this time in the form of an ' Italian Sixth.
There are similarities here with the ambivalent ending of Richard Strauss 's tone poem Also sprach Zarathustra. Had B been given the last word, or were the extreme registers reversed, the ploy would not have worked. It would have been obvious that the C though placed many octaves lower than its rival, in a register the ear is used to associating with the fundamental bass was, in functional terms, making a descent to the tonic B as part of a "French sixth" chord Rather than an ending in two keys, we are dealing with a registrally distorted, interrupted, yet functionally viable cadence on B.
A tritone substitution is the substitution of one dominant seventh chord possibly altered or extended with another that is three whole steps a tritone from the original chord. In standard jazz harmony , tritone substitution works because the two chords share two pitches: namely, the third and seventh , albeit reversed. Notice that the interval between the third and seventh of a dominant seventh chord is itself a tritone.
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Edward Sarath calls tritone substitutions a "non-diatonic practice that is indirectly related to applied chord functions The tritone substitute dominant often contains the original dominant pitch the sharp fourth, also called sharp eleventh or flat fifth, relative to the original root due to its importance melodically and tonally, and this is one of the ways in which substitute dominants may sound and function somewhat differently than conventional dominant chords.
The substitute dominant may be used as a pivot chord in modulation. Resolution to the original tonic is also common. Tritone substitutions are also closely related to the altered chord used commonly in jazz.
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Jerry Coker explains:. Tritone substitutions and altered dominants are nearly identical Good improvisers will liberally sprinkle their solos with both devices. A simple comparison of the notes generally used with the given chord [notation] and the notes used in tri-tone substitution or altered dominants will reveal a rather stunning contrast, and could cause the unknowledgeable analyzer to suspect errors.
The alt chord is a heavily altered dominant seventh chord, built on the alt scale , a scale where every scale degree except the root is flattened compared to the major scale. Thus, the alt chord is equivalent to the tritone substitution with a sharp—eleventh alteration. The tritone substitution primarily implies a Lydian dominant scale or Lydian minor scale.
This can also be seen as a substitute for the secondary dominant of V. Below is the original dominant-tonic progression, the same progression with the tritone substitution, and the same progression with the substitution notated as an Italian augmented sixth chord:. One of the most common usages of the tritone substitution is in the bar blues. Shown below is one of the simpler forms of twelve-bar blues.
The second common usage of the tritone substitution is in ii—V—I progression , which is extremely common in jazz harmony. This substitution is particularly suitable for jazz because it produces chromatic root movement.