Re: Finding Beat One of the song.

Cliff wrote:
Ah, now I have a different definition of a tritone sub. I'd learned
that you take the 3rd and 7th intervals of a dom7 chord and use the
7th as the 3rd and the 3rd as the 7th of a new dom7. e.g. G7, 3rd = B,
7th = F; now if F = 3rd and B (Cb) = 7th the sub dom7 chord must be
Db7.

Yup. And the reason it works that way is that
the tritone is the exact middle of the octave.
It's the only symmetrical interval. The distance
from unison to tritone is the same as from tritone
to octave. 1 to TT = TT to 8, same distance/interval.
We invert the interval, then build chords around the
new interval.

While you're inverting that tritone inverval, it
just so happens that you're also moving the root
up a TT (G7 to Db7)

In I Will Survive -

FM7 = F A C E
Bm7b5 = B D F A

it's not a traditional TT sub. But we're still moving
from one root note to it's most distant interval (F to B).
We're also not starting on the V chord of the Maj scale.
A traditional TT sub would mean we have to leave the
key quite a bit and play F7 followed by B7. Neither
wants to "fit" the harmony of the song.

I once had a student offer a very good explaination
of how we are "allowed" to modify the "rules". He said
"Just like you don't want to/have to play all the notes of
a scale in a row, you don't have to follow all the
components of a rule".

We sub ii for IV or vi for I all the time. Sometimes
we extend those chords far enough that there are a
lot of notes in common. Sometimes we keep them as
triads, or even less, and they have less notes
in common. They still sub for each other.

So IWS, instead of having the "textbook" TT sub,
it uses half of the concept to explain how the
two chords fit.

And of course, that's not the only explaination of
how those two chords fit, as we've discussed previously.
Their relationship can be DESCRIBED (mus theory) several
ways. None are necessarily more or less correct.


Lumpy

In Your Ears for 40 Years
www.LumpyMusic.com



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