Substitute Dominants | Music with Myles

[@Tantacrul]

Really setting a high bar here! Very nice choice of visuals and pace.

[@job9650]

AND THEN THERE'S YOU.... I LOVE YOU

[@TheElectricCheeseProductions22]

Tantalizing Cru

[@ChrisGarmon]

Dude, you have a gift. Your videos are didactically brilliant like nothing else I've seen on here.

[@danroberts9050]

Hey, you're one to talk about being brilliant. You said "didactically". Now I've got to go look that up! lol

[@HypoValence]

2:59 "It's time to take it to the next level" Me: Aight I think I'm ready 4:28 Me: WAIT

[@positivefingers1321]

Ryan Chua disappointed this wasn’t a joke about a 6/9 chord

[@RudyAyoub]

OH SHIT A NEW VIDEO

[@dartme18]

Not really new any more, but still a good video :-D

[@dazzecjskul7051]

heyy roodyy

[@adriancruz2822]

That’s the jazz. I want that JAZZ! HOW CAN WE GET MORE JAZZ?

[@joshuabenson2568]

Adrian Cruz gimme that luscious jazz *slurp*

[@freshpansen6313]

Just punch in more tritone subs and 2-5-1's

[@ErebosGR]

Adam Neely: "Okay, I guess we can do that."

[@toxto]

That video started the whole music theory KZbin shit for me.

[@benkockert982]

mayby more suspended chords?

[@shout4371]

Also the 5 and b9 of a dominant chord form a tritone. This tritone and the tritone formed by the 3 and 7 together form a diminished 7th chord, which can be used to make 4 different 7b9 chords by simply adding different bass notes. You can the substitute these out for each other for even more interesting variations. For example, if we have the progression Dm7 - G7 - Cmaj7. Adding a flat ninth to the G7 gives us G7b9, with the notes G B D F Ab. If we take out the root note, we are left with B D F Ab, which is a diminished seventh chord. Now we can use this same diminished 7 chord with either Bb, E, Db, or G as a bass note and we will get 4 different 7b9 chords that share 2 separate tritones, meaning that any of these chords can resolve to any chord that any of the individual 7b9 chords can resolve to. In our example of Dm7 - G7 - Cmaj7, we can substitute G7 for either E7b9, Db7b9, or Bb7b9 and the chord will still resolve. Let's use Bb7b9. We can do Dm7 - Bb7b9 - Cmaj7. And then from there you can use the Bb's ii chord: Fm7 - Bb7b9 - Cmaj7. Or you can substitute a chord from another mode, for example: Dm7(b5) - Bb7b9 - Cmaj7. Etc etc. I found this out on my own and I think it's really cool.

[@ryanhass8716]

Damn, this is a mighty fine comment. I'm gonna have to come back to this video later to refresh my memory and i hope i see this comment again because i LOVE the resolution of a dominant 7b9 and use them whenever i can.

[@santiagobautista245]

Why those bass notes, i mean, when you have G B D F Ab and You take out the G and add Bb E or Db, what is the relationship of G and those other bass notes? I can't understand that part because i'm mexican, i speak spanish and the translator doesn't work good for theese comments, also i don't have too knowledge on music theory, anyway, thank you very much 🙏.

[@ryanhass8716]

@@santiagobautista245 Think of a dominant 7 flat 9 chord. B7 flat 9, for example. Look at it as 2 seperate components, the root (B) + diminished 7th chord (C, D#/Eb, F#, A) a semi tone above the root. So if you wanted to change a chord progression up with a substitution, you could replace that B root note with D or F or Ab/G# beneath that diminished 7th chord (C, D#, F#, or A). The relation of the root note is just one semitone beneath one of those notes. So in theory, you could start with a good, but basic sounding F#m7b5, B7b9, Em7 And change it to F#m7b5, D7b9 or F7b9 or G#7b9, Em7 I hope that explained it well enough!

[@santiagobautista245]

@@ryanhass8716 Thank You so much man, i really understood, You have great ideas, keep going on!

[@1amosq]

Maybe 12 is the perfect number 🥹

[@AngelinaSevastopoulos]

this has genuinely got to be the most clear, concise, and engaging/entertaining theory video i've ever watched - you're incredible!!

[@joecarstairs2459]

In case anyone cares: the progression at 4:12 sounds identical to a progression known in classical music as a German augmented sixth. However, it's written slightly differently (in this case, with an F# instead of a Gb), and is more common in minor keys. In classical music, it always resolves to the dominant chord, as here.

[@maiareymacia7650]

Wouldn't the German 6th in C have a C natural though, instead of the Cb in the Ab minor chord above?

[@mindaugaspundzius852]

Please don't stop posting, your videos are super helpful and the quality is just amazing. Keep it up!

[@LucasPreti]

YES IVE BEEN WAITING FOR THIS FOR SO LONG

[@RudyAyoub]

ME TOO OMG

[@Jmusicguitar]

Lucas Preti berklee harmony 1-4 is where he got this, you can find it online for free

[@alex-zhou]

Your animations are brilliant. Thanks for existing

[@CarlosRMusica]

Wow, I can't believe I haven't found your channel before! This is exactly the kind of information I need to take my music to the next level. Thank you so much for sharing! 🔥

[@_js]

Bro how am I just finding this channel? This channel is the most underrated channel on YT

[@shoobaloobabobdingalingadong]

That's the best I've ever heard anyone explain this concept.

[@stylekanton7006]

I felt like we were a part of a scene change in an 80s sit-com.

[@blopenshtop]

This series is gonna go far if you keep at it

[@trumpetman]

Most don’t explain what a “tritone” is. Three “tones” or six “semitones” if you know the European system. I didn’t so I didn’t grasp the concept of “tritone” until much later. We call “semitones” and “tones” “half steps” and “whole steps” in the US but we still use “tritone” and no one had explained that for me clearly in 20 years of music making. For some of us it’s important to know the origins and reasons for names and the things they’re named for, I hope this helps anyone that thinks like me.

[@remyslender]

Thank you this comment made the video make sense

[@YoniFogelmanMusic]

WOW I love these videos! You explain the concepts so concisely! They were especially comprehensive for me because I was already familiar with the topics, but I wanna see more of these videos!!

[@aaroninkinen521]

keeping consistent rhythm between the examples while you explain is really creative and cool. makes it much more pleasant to follow

[@ChieuPhan95]

Thank you so much! Pls do a video on improvisation someday!

[@Fenrizan]

I like it much that your videos come straight to the point without any long intro talking. It helps me to be focused on the topic. Top! You've got a new subscriber. Thank you!

[@OctapezOficial]

Dotted lines are used to indicate movement from a dominant chord to any type of chord, not just Major ones.

[@briansadler5225]

Awesome video! I love how the drums never stop the entire time

[@nemosaurus]

This and the Modal Interchange video are amazing. Have you thought about doing a Theory Series? I like the way you approach these concepts!

[@danroberts9050]

"Theory Series" really has a ring to it.

[@jonahhammond8826]

Literally been trying to figure this out for years. The key is the similar notes between the dom7 and the substitute dom7 and the fact the similar notes want to resolve to the 1 chord. Just a different flavour. THANK YOU.

[@ahmedalian7220]

Brilliant!! BEST theory educational channel by far. the music examples and audio mixing is brilliant and the graphics are reallly clear and simple. Thank you man. Thank you for your efforts i genuinely and PERSONALLY appreciate it lol. More please :)

[@kinsoundstudios]

That was probably the best, actually definitely the best demonstration of cadence I’ve ever seen in a tutorial. Thank you

[@ineedvids92]

this fills such a nice hole in the youtube music theory landscape content-wise, while distinguishing itself nicely in presentation. please keep it up! :)

[@hermancharlesserrano1489]

Brilliant, insightful vid…you lit a lightbulb in my head…subs with real purpose and intention, not just as alternative chord Sub…scribed!

[@alanboro]

3:23 the cardigans - carnival the more you study music theory, the more you appreciate the music you already liked, but never knew exactly why it sounded so great

[@さきいか-i6t]

英語全くわからない日本人ですが、映像だけでも言いたいことがなんとなくわかりました！ありがとうございます😭

[@avocadoodnt]

I think you should be able to use youtubes subtitles via the autotranslate option, otherwise there are also live translation softwares on samsung devices and pc, you might want to look into some of those ^^

[@ryanhass8716]

My goodness, this is expertly explained. You did a marvelous job here! I'm gonna have to come back to this one.

[@AlbertoEAF]

Wow this is probably the best explanation I've ever seen of the rationale behind tritone substitution! Well done!!

[@victorcesar2351]

Music is good. I'm learning english, this dificult some moments, but is cool.

[@iDrunkRS]

Been waiting for a video forever. Guess I'll wait longer for a Native Construct album.

[@Mtaalas]

Honestly, most concise and well explained dominant/tritone substitution video ever. And I've watched like a ton and have always been left a bit puzzled. Thank you!

[@micha0634]

Very nice! Substitution and chromatic changes offer so much freedom! It's very usefull to analyse these things. For me it's helpfull to understand things I already do but without realizing the theory behind. The combination of theory and practice is opening next doors. Pure joy and of course a lot of work to do.

[@ronaldo.araujo]

One cool thing I saw in JazzDuets' Channel is that if you have dom.7 chords on a circle of fourths (C7 F7 Bb7 Eb7...) you have an underlying descending chromatic movement. Great work, keep it up.

[@ruairilogan153]

Wouldn't be dominant 7th chords though would it? Since you have a chromatic movement the tonic isn't clear so there is no dominant 7th chords cause there is no stable tonic.

[@m.vonhollen6673]

@@ruairilogan153What makes a chord a “Dominant 7th chord” has nothing to do with any other chord in the progression; it is simply the intervals in the chord of root-3-5-b7. So C-E-G-Bb is a Dominant 7th chord (even in a 3-chord Blues that just has 3 Dominant 7th chords).

[@ruairilogan153]

@@m.vonhollen6673Forgot, I wrote this nonsense, had a good laugh reading it, though. Thanks for getting me the correct information. :)

[@RobTai]

love how these videos are produced 🎉🎉🎉 awesome awesome

[@Chimp_No_1]

Incredibly helpful ! Thank you so much for sharing !

[@AysanTohidi]

God bless you!!! I've been searching for this information for a week now and just found your video! Thanks!

[@rauldelgado7033]

MY HEAD HURTS

[@insightguitars]

fantastic lesson

[@aaronfledge]

Thank you for explaining this really clearly. Lovely visuals and humour.

[@aaron6a]

Good to see you again Myles, always appreciate your video!

[@MotorGoblin]

Such a clear way of explaining this. Excellent!

[@christiancrimi5644]

This was edited so well! Love the way you kept the beat going

[@christianbettinelli5004]

God bless you Myles

[@foljs5858]

Great explanation. I've seen several videos on substitute dominants, this was the clearest

[@curtpiazza1688]

WOW! Very well explained! Thanx!

[@smalldoggo3704]

Gonna have to watch this like 50 times. Jazz always flies over my head

[@norakat]

Composing music is so much more than just getting the right chords. Like I listen to some favorite music that incorporates 2-5-1 but doesn’t sound lame as just playing them as in the examples.

[@coversbycat]

Please come back! Your videos are AWESOME

[@douglasmason6067]

Holy shit how am I just finding this? This is the best explanation of the topic in the world, and excellent fun production design. Great work!

[@TheThirdLieberkind]

This format is so damn cool

[@antoniojoya2254]

excelente Maestro, muy buena pedagogía. gracias por compartir este video. un fuerte abrazo y mil bendiciones desde Venezuela.

[@bijaykumarsamantroy5167]

Super guidelines 🙏🙏

[@jimimaze]

Concise and to the point. Thank you

[@keithpoon9190]

Just amazing! Keep doing these pleaaaaaaaaase!!

[@z3ussy970]

Impressive! Glad found this channel subscribed

[@omarumanzor8087]

Thank you so much, you just cleared up 1/2 a semester of college theory in 5minutes for me.

[@GeorgeStreicherMusic]

Keep these coming!

[@JuanGonzalez-dy1jb]

You won’t find a better explanation than this anywhere.

[@twkarp]

These videos are so crazy well produced. Keep it up

[@AaronLS.]

Wow this was the best exanation of this topic I've heard.

[@DougieDDemon]

Great lesson👍

[@murimk]

Great video, finally someone explaining stuff like this both accurately and easy to understand. Being a music teacher, this is actually a video I can point students towards. Nice looking video as well, good editing!

[@dinghaoluo2769]

I KNEW THE WAIT WOULD BE WORTH IT!!

[@hectorkilicosierra4589]

Excelent , and very easy way to learn.

[@jayvessel444]

Clear, concise, well produced. Your videos are invaluable, please keep up the excellent work.

[@danielgarzaromusic]

Thank you! So cool way to explain dominant substitution!

[@tinikadavis6931]

So essentially what you're saying is the tritone substitution is a Flattened ii dominant seventh chord, which is the secondary dominant of the V chord.

[@bonvabriones]

Great work once again

[@binface9]

Great explantation of the tritone sub.

[@Phownk]

Dude, absolutely killer video. Keep these coming.

[@soundmatrx3432]

Wonderfully done video! Thank you for this video!

[@shinydino]

Best explanation of why it’s called a tritone substitution I’ve seen yet. Great job.

[@grenciamars4876]

Legit the 'brackets and arrows' was like a Rosetta Stone moment for me... neurocomplexity is annoying and secondary dominants confounded me before this. Thank you! 🎉

[@Audiojunkk]

Man! Your content is amazing.

[@TadeSF]

Finally someone is doing this! I love what you do and how you do it! It‘s just great how easy to understand your explanations are and how well everything is built up in harmony with the presentation and the music samples. THANK YOU AND KEEP IT UP!

[@timflatus]

Wow! I can hear clearly now my brain has gone. Turning the II-V into a semitone descent just explained my life. Genius.

[@FarhanSyamil]

We need more like this, awesome dude!

[@matthewrogersmusic]

Ok I walked into the wrong classroom

[@EasyQuickPiano]

Brilliant illustration And I love the way you draw inferences from your analysis. Thanks for sharing

[@jd-ju3vr]

Please do more stuff like this!

[@C.SchitzPopinov]

Thoroughly enjoyed

[@jjgyoung]

Love the style of these videos! Awesome, stuff!

[@alecverkuilen3920]

Wow! Such high quality content 🔥

[@sammiller9855]

Please keep these lessons coming.

[@calebraysilcott9471]

Awesome explanation of complex theory!

[@RockingOnTwoWheels]

This is by far the most info I have ever learned in a couple of minutes 😮😮😮

[@patcalderontello5581]

This is the best music channel top 5 easily

[@thiagocosta3953]

really, really well done video! thank you!!

[@ManicureMusic]

Awesome video! Super helpful and accessible for more advanced theory. One piece of feedback: it took me going back and figuring out what the color codes meant, which helped me follow the last chord progression!

[@intervalkid]

Another great clear lesson. I have actually never thought of using the Abminor7 for a tritone sub for the Dm7. Neat.

[@gonzalogonzalez9960]

why do I have to wait over a year to see one of your tutorials. These videos are amazing!!!

[@m.vonhollen6673]

The Mighty Tritone! Try playing a 3-chord Blues that uses 3 Dominant 7 chords; the 3 tritones in those chords will be located right next to each other ALL OVER THE FRETBOARD. (That’s because one of those 3 tritones will be the inversion of the other two tritones; so the I-IV-V chords’ tritones will be located right next to each other.) They can be used as an easyway to find the most “inside” notes in that Blues song. They will form 2 or 3 diagonal lines right across the fretboard. Investigate and experiment with this!

[@groovykittycat7422]

*You should upload more videos like this!!*

[@shravanburagapu8364]

Can you please go from the baiscs?

[@starfishsystems]

Brilliant!