I am very happy you like it - I learned so much from this video myself - getting the tritone substitutions down but also fully understanding how his direct approach is so useful. What is the biggest realisation for you in this video? Love to hear it!
Your reference to Bach concurs with the ideas in Hal Galper’s book Forward Motion. I’ve always struggled to make the tritone sub sound melodic and fluent rather than glaring and gratuitous. This will help: thanks.
I did not know the Hal Galper take on this - did not read the book - maybe I should :) The tritone sound is amazing - go for it I do not want to be pushy but check out the lesson transcription on Patreon - this might help you in getting some really clear lines? www.patreon.com/posts/99511567 Love to hear about how all practice and understand the things - super interesting - thank you!
super interesting and clear :) just a quick note : usually when I do tritone sub I play the lydian dominant but you don't in your example. For example on G7, I play C# lydian dominant with a G but in your examples you play the mixolydian with a F# (the major 7 on G), it does sound good but I wonder what do you think of that?
Thank you for the compliment :) Indeed the altered dominant is using the lydian dominant. I split the tritone dominant and the altered dominant - maybe Im crazy here :) hahha When I play altered I look at the G7 and the alteration b9,b10,b5b13 - indeed keeping the G in there. This happens to be the Abmelodic minor scale which gives some great stuff When I play Tritone dominant I play Abm7 Db7 - more like a II-V progression using the - well the modes - mixolydian - but I really think in connecting lines - upper structures. And the two sounds has very different qualities I think. The Altered I think more in a mode kind of thing. Does make sense? Let me know - love to hear!
Thank you so much for making that clear! You are a star.
I am very happy you like it - I learned so much from this video myself - getting the tritone substitutions down but also fully understanding how his direct approach is so useful.
What is the biggest realisation for you in this video?
Love to hear it!
Your reference to Bach concurs with the ideas in Hal Galper’s book Forward Motion. I’ve always struggled to make the tritone sub sound melodic and fluent rather than glaring and gratuitous. This will help: thanks.
I did not know the Hal Galper take on this - did not read the book - maybe I should :)
The tritone sound is amazing - go for it
I do not want to be pushy but check out the lesson transcription on Patreon - this might help you in getting some really clear lines?
www.patreon.com/posts/99511567
Love to hear about how all practice and understand the things - super interesting - thank you!
super interesting and clear :) just a quick note : usually when I do tritone sub I play the lydian dominant but you don't in your example. For example on G7, I play C# lydian dominant with a G but in your examples you play the mixolydian with a F# (the major 7 on G), it does sound good but I wonder what do you think of that?
Thank you for the compliment :)
Indeed the altered dominant is using the lydian dominant.
I split the tritone dominant and the altered dominant - maybe Im crazy here :) hahha
When I play altered I look at the G7 and the alteration b9,b10,b5b13 - indeed keeping the G in there.
This happens to be the Abmelodic minor scale which gives some great stuff
When I play Tritone dominant I play Abm7 Db7 - more like a II-V progression using the - well the modes - mixolydian - but I really think in connecting lines - upper structures.
And the two sounds has very different qualities I think.
The Altered I think more in a mode kind of thing.
Does make sense?
Let me know - love to hear!