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Dominant Seventh Chord

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Tritone

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Tritone Substitution

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Music with Myles

myles yang

native construct

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00:00:03

A dominant seventh chord resolving down a perfect fifth is the most powerful harmonic

00:00:08

gesture in music.

00:00:10

We all know the sound.

00:00:13

The ultimate resolution.

00:00:15

Of course, it's also an extremely common and straight-forward sound.

00:00:19

I'm gonna show you how to make this idea much more interesting.

00:00:22

But first, we need to take a closer look at the chord itself.

00:00:26

The dominant seventh chord occurs naturally on the fifth degree of a major scale.

00:00:30

Structurally, it's a major triad plus a minor seventh.

00:00:34

Now, this structure contains a very special interval.

00:00:37

There are six semitones between the major third and the minor seventh of the chord.

00:00:41

This is a powerfully dissonant interval, known as the tritone.

00:00:45

Think of the tritone as the backbone of the dominant seventh chord.

00:00:50

This inherent dissonance is one of the reasons these chords usually sound like they really

00:00:54

want to resolve, specifically to the chord a perfect fifth below them.

00:00:58

The notes in G7's tritone, B and F, resolve perfectly to the C and the E in C major, the

00:01:04

chord a perfect fifth below.

00:01:07

Okay, here's where it gets interesting.

00:01:11

Since tritones are exactly half of an octave, they are inversionally symmetrical.

00:01:15

In other words, when you invert a tritone, you end up with the same tritone.

00:01:20

If you think about it, this means any given tritone really exists in two different dominant

00:01:24

seventh chords, and those chords would have to be a tritone away from each other.

00:01:28

And, since the tritone is such a big part of the function of these chords, we should

00:01:32

have two different dominant seventh chords that both want to resolve to the same place.

00:01:37

Welcome to tritone substitution.

00:01:40

Okay, let's see: the dominant seventh chord a tritone away from G7 would be Db7.

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We just need to re-spell our B as a Cb and we can see they do indeed share the same tritone,

00:01:51

only inverted.

00:01:52

What was originally the major third of G7 became the minor seventh of Db7, and vice

00:01:58

versa.

00:01:59

Okay, don't worry if you didn't quite follow all that logic; here's the bottom line: If

00:02:03

we want to target a certain chord, for example, C, we can do so using the dominant seventh

00:02:08

chord a perfect fifth above it, which is G7.

00:02:11

Or, we can use the dominant seventh chord a half-step above it, Db7.

00:02:16

In this case, Db7 would be a "substitute dominant chord," or "tritone sub."

00:02:21

It does basically the same job as its more common counterpart, but in a more colorful

00:02:26

way.

00:02:29

By the way, we use these arrows to indicate dominant resolutions.

00:02:33

A solid arrow for a dominant seventh chord resolving down a perfect fifth, and a dotted

00:02:37

arrow for a dominant seventh chord resolving down a half-step.

00:02:40

So, we can use a solid arrow or a dotted arrow to lead into almost any chord.

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Here's a progression that uses both types of dominant resolutions.

00:02:57

Now that we have the basic concept down, it's time to take it to the next level.

00:03:02

It's very common and effective for the II-7 chord to lead into the V7 chord.

00:03:07

In this situation, II-7 is what's called a "related II chord."

00:03:12

That's a minor seventh chord leading down a perfect fifth into a dominant seventh chord.

00:03:17

We analyze this relationship with a bracket.

00:03:19

So, we have a bracket leading into an arrow, and it sounds like this.

00:03:25

But, related II chords don't have to be the actual II chord in the key.

00:03:32

We can use this bracket relationship to setup any dominant seventh chord.

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Let's see what happens when we add a related II chord to our subV7.

00:03:41

The minor seventh chord a perfect fifth above Db7 would be Ab-7, a very unexpected chord

00:03:47

in the key of C Major.

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So this chord will sound puzzling at first, but once you hear where it's going, it works

00:03:52

really well.

00:03:56

Now, let's get weird.

00:03:59

What if we take Db7's related II chord, but swap G7 back in?

00:04:04

Now we have a minor seventh chord leading down a half step into a dominant seventh chord.

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This is called a substitute related II chord, indicated by a dotted bracket.

00:04:17

And how about a dotted bracket with a dotted arrow?

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We can even start chaining together and combining these brackets and arrows in all sorts of

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wild ways.

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The possibilities are endless.

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Here's a little example.

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So, substitute dominants and related II's can give you some pretty far-out sounds.

00:05:01

But, since these chords have such clear function to them, they tend to sound a little more

00:05:05

palatable than you might expect, given the amount of chromaticism involved.

00:05:09

This is one of my go-to techniques if I'm looking for something interesting, but not

00:05:13

too difficult to listen to.

00:05:16

If you enjoyed this video, please subscribe.

00:05:18

Also check out my Patreon page.

00:05:20

The purpose of this channel is to offer free music education to the world, and your contributions

00:05:25

make that possible.

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