Ex­am­ple6 Tri­tone subs in three

Guitar Techniques - - LEARNING ZONE -

Here we see how Emily might em­ploy the ‘tri­tone’ sub­sti­tu­tion with a re­laxed sense of groove and swing. The trick to this ap­proach is to in­tro­duce an ex­tra chord into each V-I res­o­lu­tion. Tak­ing the G7 in bar 8 as an ex­am­ple, this would or­di­nar­ily re­solve to some form of C chord, which it does in bar 10. How­ever,

Db7, be­fore we get to this C7 chord we see a tri­tone (three tones, or six frets) away from our ini­tial G7, to pro­duce a smooth de­scend­ing semi­tone tran­si­tion

Db from down to our tar­get C7. This in­ter­change­able qual­ity is all pos­si­ble as

Db7 Cb Db7, both G7 and share the same 3rd and 7th (B and F for G7, and F for en­har­mon­i­cally the same). If all this the­ory puts you off, please don’t worry. Given time this just be­comes an­other sound that you’ll be­come com­fort­able with so lis­ten care­fully and you’ll spot the same sound used else­where in Emily’s play­ing and in the jazz genre over­all.

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