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you
okay today I'd like to talk about using
tritone substitutions in the left hand
of this Trudel a system might be a good
idea to kind of do a quick review of a
couple of things the tritone
substitution I want to deal with
exclusively today is the one that
includes the sharp 11 so let's discuss
just a little bit of what a tritone is
and what substitution means and then
that sharp 11 in particular so the
tritone is three it gets us draws its
name because it encompasses it's an
interval that encompasses three whole
tones so like if we put a sheet up here
you can see C to D is a whole tone D to
e is a whole tone and E to F sharp is a
whole tone so it has to it has to
encompass three adjacent whole tones and
that interval is a tritone and the
substitution part is we can take a
dominant chord like a five chord like in
the key of C is g7 g7 chord g7 that goes
to one we can we can substitute instead
of using the g7 we can substitute with a
chord that is a tritone higher than the
the dominant chord so our G chord if we
go up a tritone it's a D flat if we if
we count up three whole tones from the
root of our dominant chord we get a D
flat and if we do the D flat seven
that can take the place of the g7 and
you can hear it something it sounds nice
so the the g7 going to see but the kids
with with the tritone substitution
the sound referred plenty of times so
that that's a tritone substitution on
the dominant chord the one I again want
to talk about is the one that has a
sharp 11 because on the accordion it's
unique in that it's exactly a carbon
copy so I think easiest thing is to look
at a c7 chord on the left hand and the
Stradella system there's no v so the c7
chord has the notes C
if we add the F sharp which is the
eleventh I've kind of skipped that have
an eye maybe we should have look at that
for a second the eleventh if you're not
the sharp eleven if you're not familiar
with what that is it's just you just
count up the scale until you reach
eleven and then you sharp it so if you
go up the scale you sharpen that's an F
sharp and something not to get confused
with but it's something that makes this
work so well is that F sharp that sharp
eleven is also what we just discussed is
the tritone it's the same note so here
we have the sharp eleven and then our
then our c7 chord
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or you can bring it down an octave which
is much easier
in the left hand then if we do the
season we have sharp
if we take it out and don't have it be a
base out
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that's the cord we're looking at that's
the cord that's the kind of magic cord I
sometimes call it a worm the worm hole
cord because it allows me to cover a lot
of real estate in the left hand with a
very small movement and gets me from
place to place to place very easily so
look at let's let's take a look at those
notes on some staff paper
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CEF sharp and B flat now let's take the
tritone that we're gonna substitute here
and again we count up from the from the
see the root of the C up try to get that
F sharp let's go up in our left hand
find the F sharp chord
and now I'll look at the notes that are
in that next to the c7 chord those are
the chords in the f-sharp
they often they would normally be
written differently
we got an F sharp a sharp e the a sharp
can also be thought of as a b-flat
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and if we add the sea
all of those notes in the F sharp chord
with the sharp eleven that C are the
same notes as our C with adding the F
sharp through the same chord so these
are a direct substitution
so now that we're armed with that
knowledge that we can have the same cord
in two very different locations this
opens up a lot of a lot of flexibility
as far as making chromatic movements
that are often really very difficult in
the in the left hand let's go to the to
the cords of pent-up house that I opened
the video with and and look at those
I've got in the chart I've got an a my
are going to an A flat seven that's
really a rough jump because I'm going
I'm moving it all the way down to a flat
cell
and making that move there's so much air
in there and there's so much room for
error because you really have to you
have to move fast and you have to find
the right spot it's tough so let's think
about what we were just discussing now
if we take if we take instead of going
to the a flat seven
what's the tritone of a-flat
and we go it's a D and if we only had to
go to a D
that would be its right next door it's
great can we if so if we take the you
take the D and add the
the tritone now all of a sudden we've
got we've got a a an A flat dominant
with a sharp 11 in it and for this
particular song it sounds great if I had
to do that with the way it was written
with with just an A flat seven I
probably could never get any great speed
out of that I mean when we're pretty
hard there's so much room for error
because it's just too much too much real
estate to go back and forth on the
lefthand that way but here it's a piece
of cake it's really easy so that's
something to look at if you've got
something that's moving chromatically
and you're doing a jazz tune explore
whether the chord the tritone the
tritone away is that gonna lay easier it
can you grab the bass note and and and
make that and make that work a lot
easier for you so something something
you can put in practice all the time in
your and your Jazz Studies just as an
aside when you when you get to playing
around with try John Jones you'll notice
I am invariably and sometimes mistakenly
and grabbed a tried hug because they're
so fun to play
you
they sound great to my ear but you'll
notice that if you start start coupling
those frightens with using both base
notes it's a little thick but you'll
notice that it sounds chromatic things
things a lot of things start coming out
chromatic and if you run through the
circle of fifths in the left hand it's
sounds like the circle of fifths if you
add the tritone with with the root base
in base the same thing
it sounds chromatic the the brain
translates as this is a descending
chromatic line even though we're doing
fifths
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it definitely sounds chromatic and you
can also ascend chromatically so
hopefully this will open up all kind of
avenues for anytime you you hit
someplace where you have to make a
chromatic move you can grab the tritone
that's related to that chord and use
that for your for your seventh chord
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Hey hope that helps you a little bit
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you