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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 other words, tritone substitution involves replacing V 7 with ♭ II 7[7] (which could also be called ♭ V 7 /V, subV 7, [7] or V 7 / ♭ V [7]).
In music theory, chord substitution is the technique of using a chord in place of another in a progression of chords, or a chord progression. Much of the European classical repertoire and the vast majority of blues, jazz and rock music songs are based on chord progressions. "A chord substitution occurs when a chord is replaced by another that ...
In music theory, the tritone is defined as a musical interval spanning three adjacent whole tones (six semitones). [ 1 ] For instance, the interval from F up to the B above it (in short, F–B) is a tritone as it can be decomposed into the three adjacent whole tones F–G, G–A, and A–B. Narrowly defined, each of these whole tones must be a ...
The axis system is "concerned with harmonic and tonal substitution", [1] and posits a novel type of functional relationship between tones and chords. Lendvai's analyses aim to show how chords and tones related by the intervals of a minor third and tritone can function as tonal substitutes for one another, and do so in many of Bartók's ...
Since the tritone is a distinguishing feature of the sound of a dominant 7th chord, [5] a D ♭ 7 chord may thus replace G7. Tritone substitution works very well on standards, because the chord progressions typically utilize the II – V–I progression and the circle of fifths. For example, a jazz standard using a chord progression of Dm7 ...
Turnaround (music) In jazz, a turnaround is a passage at the end of a section which leads to the next section. This next section is most often the repetition of the previous section or the entire piece or song. [ 1 ] The turnaround may lead back to this section either harmonically, as a chord progression, or melodically.
The use of a root position Neapolitan chord may be appealing to composers who wish for the chord to resolve outwards to the dominant in first inversion; the flattened supertonic moves to the leading tone (in C major, D ♭ to B) and the flattened submediant may move down to the dominant or up to the leading tone (A ♭ to either G or B).
The ii–V–I progression ("two–five–one progression") (occasionally referred to as ii–V–I turnaround, and ii–V–I) is a common cadential chord progression used in a wide variety of music genres, including jazz harmony. It is a succession of chords whose roots descend in fifths from the second degree (supertonic) to the fifth degree ...