Timeline for Why do tritone substitute dominants have tensions 9 #11 13?
Current License: CC BY-SA 3.0
10 events
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| Mar 20, 2018 at 8:22 | history | tweeted | twitter.com/StackMusic/status/976011116030644224 | ||
| Mar 19, 2018 at 16:59 | comment | added | user39614 | "I feel there is still an underyling principle here that could be explained faster and more elegantly." Yes, and it is the point that I tried to make in my earlier comment: voice leading. Modes imply certain alterations, but that does not mean that you are required to use only those alterations. | |
| Mar 19, 2018 at 16:52 | history | edited | Richard | CC BY-SA 3.0 |
added 1064 characters in body
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| S Mar 19, 2018 at 16:32 | history | suggested | John Cataldo |
added the piano tag
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| Mar 19, 2018 at 14:55 | comment | added | user39614 | Rather than look at tensions as rule-driven choices, look at them in the context of specific chord progressions and voicings. In a ii7 - V7 - I7 with a tritone sub, e.g. Dm7 - D♭9 - CMaj7, the 9th sounds good on the tritone sub if it resolves up to the 3rd of the CMaj7. In fact you can form an enclosure around the 3rd of the CMaj7 by voicing so that the 3rd of the Dm7 leads to the 9th of the D♭7, then to the 3rd of the CMaj7. But the ♭9 and ♯9 can sound good on tritone subs too, e.g., in a series of V of Vs: D7♭9 - D♭7♯9 - C7♭9 - B7♯9 - B♭7♯9 - A9 - A♭Maj7. | |
| Mar 19, 2018 at 14:44 | answer | added | gurney alex | timeline score: 5 | |
| Mar 19, 2018 at 14:40 | answer | added | LSM07 | timeline score: 2 | |
| Mar 19, 2018 at 12:52 | comment | added | Tim | I daresay the mix of notes sounded good. Then it needs some sort of theoretical reasoning, and that's where it all landed. | |
| Mar 19, 2018 at 11:57 | review | Suggested edits | |||
| S Mar 19, 2018 at 16:32 | |||||
| Mar 19, 2018 at 11:54 | history | asked | Richard | CC BY-SA 3.0 |