GF4 048A Bk4 Tritone Explained

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(Book 4) Lesson 48a. "Tri-Tone" If the notes of any major scale are organized in successive groups of four, there is only one point where there is no half tone between any two of the notes involved. no half tones œ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ œ 3 tones 3 tones ˙ The distance between the notes "F" and "B" is called a "tritone." (3 tones) ˙ ˙ Notice that the distance remains the same even when you invert the & ˙aug 4th dim 5th interval. The tritone is the heart of the Dominant 7th type chord. G7 C G7 C Notice that the notes of the tritone are the 3rd and b7th of the Dominant 7th 3rd to Root b7th to 3rd chord. These two notes are also the most active notes in the major scale. In ˙ œ this instance the note "B" resolves by rising to the Tonic chord Root. (C) ˙ œ ˙ œ The note "F" falls to the note "E" which is the 3rd of the Tonic chord. & ˙b7th to 3rd œ 3rd to Root G7 C7 G7 C7 There is however, another harmonic rule which says: "The third of a Dominant 7th may fall, providing that the falling third becomes the flat ˙ œ seventh of the following chord." Notice that when both notes of the tritone ˙ bœ ˙ bœ fall, the interval remains a tritone but changes the numerical type of the & ˙ interval. aug 4 dim œ5 dim 5 aug 4 The studies on the following pages are based on the above idea and for the sake of identification will be called "Tritone Progressions." Keep in mind that each tritone represents a Dominant 7th chord. (In actual fact, each tritone represents two different Dominant 7th chords. This will be dealt with in more detail in a later lesson but observe the following example: G7 Db7 œw b œ & w bbwœ The black note heads represent the tritones in the above two chords. Notice that the 3rd of G7 (note B) is the enharmonic equivalent of the b7th of Db7. (note Cb). Similarly the b7th of G7 (note F) is the third of the Db7th chord. Later lessons will focus on this musical phenomenon creating the "jazz" players common trick of interchanging these chords to create interesting harmonic possibilities..

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Common jazz chord symbols Here I use the more explicit abbreviation 'maj7' for major seventh. Other common abbreviations include: C² C²7 CMA7 and CM7. Here I use the abbreviation 'm7' for minor seventh. Other common abbreviations include: C- C-7 Cmi7 and Cmin7. The variations given for Major 6th, Major 7th, Dominant 7th, basic altered dominant and minor 7th chords in the first five systems are essentially interchangeable, in other words, the 'color tones' shown added to these chords (9 and 13 on major and dominant seventh chords, 9, 13 and 11 on minor seventh chords) are commonly added even when not included in a chord symbol. For example, a chord notated Cmaj7 is often played with an added 6th and/or 9th, etc. Note that the 11th is not one of the basic color tones added to major and dominant 7th chords. Only #11 is added to these chords, which implies a different scale (lydian rather than major on maj7, lydian dominant rather than the 'seventh scale' on dominant 7th chords.) Although color tones above the seventh are sometimes added to the m7b5 chord, this chord is shown here without color tones, as it is often played without them, especially when a more basic approach is being taken to the minor ii-V-I. Note that the abbreviations Cmaj9, Cmaj13, C9, C13, Cm9 and Cm13 imply that the seventh is included. Major triad Major 6th chords C C6 C% w ww & w w w Major 7th chords (basic structure: root, 3rd, 5th and 7th of root's major scale) 4 CŒ„Š7 CŒ„Š9 CŒ„Š13 w w w w & w w w Dominant seventh chords (basic structure: root, 3rd, 5th and b7 of root's major scale) 7 C7 C9 C13 w bw bw bw & w w w basic altered dominant 7th chords 10 C7(b9) C7(#5) (aka C7+5 or C+7) C7[äÁ] bbw bw b bw & w # w # w Minor 7 flat 5, aka 'half diminished' fully diminished Minor seventh chords (root, b3, b5, b7).
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