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Yea... I tend to see and hear at typical approach for playing. The tritone theory aspect is just old school expansion of traditional Tritone sub approach, (inverting actual tritone to create new Dom. chord)... but expanding to become tritone Root approach subs. And then also using Related Chords from Common Chord Patterns, in the example... II V's.
And when actually playing many players... also expand the choice of Scales to create extensions with those subs from Chord Patterns... in the example, sounds like use of MM with use of II's and their related V's.
Back in the 70's I would have just labeled as Contiguous II V's. Almost becomes constant structure application.
When your performing, it's loose because goes by so fast the strong weak aspect almost takes control. But when arranging or composing... slows down enough to where you actually can apply detailed organization, the theory thing.
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12-13-2020 06:16 PM
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Originally Posted by rintincop
In contrast, the ii V followed by the "tritone-ii-V", doesn't resolve coherently, to my ear. Which is why, I suspect, that I can't think of a song that does it. After the first ii V, say Gm7-C7, that C7 begs for resolution, most commonly to Fmajor, although lots of other things can happen.
The tritone ii V is Dbm7-Gb7. I don't hear C7 as wanting to go to Dbm7. That's not to say that it can't possibly work -- just that it would require a very strong setting.
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Bar 4 I Can’t Get Started
Ab-7 Db7 | C
the book called “Pocket Changes” shows “all the things you are” in bar 6 as
| D-7 G7 Ab-7 Db7 | C... and the same type of thing again in bar 14
Also Autumn Leaves bar 5 and 6
A-7b5 | D7 | G- becomes
A-7b5 D7 |Eb-7 Ab7 | G-Last edited by rintincop; 12-15-2020 at 05:44 PM.
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Originally Posted by rintincop
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Originally Posted by ragman1
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