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[Music]

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you

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okay today I'd like to talk about using

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tritone substitutions in the left hand

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of this Trudel a system might be a good

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idea to kind of do a quick review of a

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couple of things the tritone

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substitution I want to deal with

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exclusively today is the one that

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includes the sharp 11 so let's discuss

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just a little bit of what a tritone is

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and what substitution means and then

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that sharp 11 in particular so the

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tritone is three it gets us draws its

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name because it encompasses it's an

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interval that encompasses three whole

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tones so like if we put a sheet up here

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you can see C to D is a whole tone D to

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e is a whole tone and E to F sharp is a

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whole tone so it has to it has to

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encompass three adjacent whole tones and

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that interval is a tritone and the

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substitution part is we can take a

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dominant chord like a five chord like in

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the key of C is g7 g7 chord g7 that goes

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to one we can we can substitute instead

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of using the g7 we can substitute with a

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chord that is a tritone higher than the

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the dominant chord so our G chord if we

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go up a tritone it's a D flat if we if

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we count up three whole tones from the

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root of our dominant chord we get a D

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flat and if we do the D flat seven

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that can take the place of the g7 and

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you can hear it something it sounds nice

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so the the g7 going to see but the kids

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with with the tritone substitution

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the sound referred plenty of times so

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that that's a tritone substitution on

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the dominant chord the one I again want

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to talk about is the one that has a

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sharp 11 because on the accordion it's

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unique in that it's exactly a carbon

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copy so I think easiest thing is to look

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at a c7 chord on the left hand and the

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Stradella system there's no v so the c7

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chord has the notes C

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if we add the F sharp which is the

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eleventh I've kind of skipped that have

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an eye maybe we should have look at that

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for a second the eleventh if you're not

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the sharp eleven if you're not familiar

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with what that is it's just you just

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count up the scale until you reach

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eleven and then you sharp it so if you

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go up the scale you sharpen that's an F

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sharp and something not to get confused

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with but it's something that makes this

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work so well is that F sharp that sharp

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eleven is also what we just discussed is

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the tritone it's the same note so here

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we have the sharp eleven and then our

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then our c7 chord

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[Music]

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or you can bring it down an octave which

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is much easier

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in the left hand then if we do the

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season we have sharp

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if we take it out and don't have it be a

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base out

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[Music]

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that's the cord we're looking at that's

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the cord that's the kind of magic cord I

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sometimes call it a worm the worm hole

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cord because it allows me to cover a lot

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of real estate in the left hand with a

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very small movement and gets me from

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place to place to place very easily so

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look at let's let's take a look at those

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notes on some staff paper

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[Music]

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CEF sharp and B flat now let's take the

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tritone that we're gonna substitute here

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and again we count up from the from the

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see the root of the C up try to get that

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F sharp let's go up in our left hand

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find the F sharp chord

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and now I'll look at the notes that are

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in that next to the c7 chord those are

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the chords in the f-sharp

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they often they would normally be

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written differently

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we got an F sharp a sharp e the a sharp

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can also be thought of as a b-flat

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[Music]

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and if we add the sea

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all of those notes in the F sharp chord

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with the sharp eleven that C are the

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same notes as our C with adding the F

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sharp through the same chord so these

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are a direct substitution

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so now that we're armed with that

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knowledge that we can have the same cord

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in two very different locations this

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opens up a lot of a lot of flexibility

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as far as making chromatic movements

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that are often really very difficult in

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the in the left hand let's go to the to

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the cords of pent-up house that I opened

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the video with and and look at those

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I've got in the chart I've got an a my

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are going to an A flat seven that's

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really a rough jump because I'm going

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I'm moving it all the way down to a flat

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cell

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and making that move there's so much air

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in there and there's so much room for

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error because you really have to you

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have to move fast and you have to find

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the right spot it's tough so let's think

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about what we were just discussing now

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if we take if we take instead of going

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to the a flat seven

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what's the tritone of a-flat

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and we go it's a D and if we only had to

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go to a D

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that would be its right next door it's

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great can we if so if we take the you

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take the D and add the

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the tritone now all of a sudden we've

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got we've got a a an A flat dominant

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with a sharp 11 in it and for this

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particular song it sounds great if I had

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to do that with the way it was written

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with with just an A flat seven I

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probably could never get any great speed

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out of that I mean when we're pretty

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hard there's so much room for error

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because it's just too much too much real

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estate to go back and forth on the

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lefthand that way but here it's a piece

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of cake it's really easy so that's

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something to look at if you've got

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something that's moving chromatically

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and you're doing a jazz tune explore

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whether the chord the tritone the

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tritone away is that gonna lay easier it

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can you grab the bass note and and and

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make that and make that work a lot

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easier for you so something something

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you can put in practice all the time in

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your and your Jazz Studies just as an

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aside when you when you get to playing

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around with try John Jones you'll notice

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I am invariably and sometimes mistakenly

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and grabbed a tried hug because they're

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so fun to play

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you

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they sound great to my ear but you'll

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notice that if you start start coupling

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those frightens with using both base

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notes it's a little thick but you'll

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notice that it sounds chromatic things

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things a lot of things start coming out

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chromatic and if you run through the

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circle of fifths in the left hand it's

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sounds like the circle of fifths if you

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add the tritone with with the root base

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in base the same thing

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it sounds chromatic the the brain

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translates as this is a descending

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chromatic line even though we're doing

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fifths

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[Music]

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it definitely sounds chromatic and you

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can also ascend chromatically so

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hopefully this will open up all kind of

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avenues for anytime you you hit

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someplace where you have to make a

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chromatic move you can grab the tritone

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that's related to that chord and use

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that for your for your seventh chord

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[Music]

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Hey hope that helps you a little bit

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[Music]

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you