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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]).
Neapolitan chord. Appearance. In Classical music theory, a Neapolitan chord (or simply a " Neapolitan ") is a major chord built on the lowered (flattened) second (supertonic) scale degree. In Schenkerian analysis, it is known as a Phrygian II, [ 1 ] since in minor scales the chord is built on the notes of the corresponding Phrygian mode.
In a tritone substitution, the substitute chord only differs slightly from the original chord. If the original chord in a song is G7 (G, B, D, F), the tritone substitution would be D ♭ 7 (D ♭, F, A ♭, C ♭). Note that the 3rd and 7th notes of the G7 chord are found in the D ♭ 7 chord (albeit with a change of role). The tritone ...
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 ...
Utilizing a tritone substitution, a dominant chord may resolve down a half-step instead. It is not uncommon to express the alteration (usually ♯ 9, ♭ 9, or ♯ 5) in the melody. For expediency, musicians may use the abbreviation "alt"—as in C 7alt —to describe the family of dominant chords with altered tones (including the ♭ 5, ♯ 5 ...
The tritone substitution, an harmonic device common in jazz chord progressions where a dominant V chord is substituted with a bII7 chord (or a secondary dominant II7 chord with a bVI7 chord, etc.), whose common justification is the enharmonicity of the tritones of both chords (G7 has a B-F tritone whereas D♭7 has an enharmonic Cb-F tritone ...
Thus, the "iv" corresponds to a subdominant chord, while "♭ III" is the mediant and "I" is the tonic. The "♭ II" chord has a dominant function, [12] [13] and may be thought of as a tritone substitution of "V", i.e., the Neapolitan sixth chord. [14] (The only purpose for highlighting these "functions" is to compare between the modal and ...
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 ...