I remember when we had the New York Seminar at Steve's place in Brooklyn and it snowed in April. Has it ever snowed on April 30? Stay warm.

I hadn't heard, so I just wanted to see who's planning on going to this event.

Looking forward to seeing you there.

Annoying? C'mon, the Tritone is one of the most evident gateways between music and mathematics. The tritone substitutions (and nested substitutions) are amazing tools for composing/improvising. Beyond the well known G7 <=> C#7 relationship, you have a couple of tricks that could fill infinitely your composer’s palette with possibilities, such as:

- To end a piece in, let’s say CM7 (C mayor with a mayor 7th), any chord that would have the notes F and B on it (whatever combination) would give you a sound that will “conclude” in C.

- All diminished chords of the scale (VII chord of the major scale, II chord of the minor scale) can be substituted every 1 and ½ tones. For example, Bdim7 would have the same musical use as Ddim7, Fdim7 and G#dim7.

- Based on this, and depending on your taste, you can also make the dominant chord be substituted by the chords appearing every 1 and ½ tones from the root of the dominant chord. For example, to end in C, you “could” use G7, Bb7, C#7, E7… This one is a stretch, more for Holdsworth’s kind of composition, but well…

The Tritone is great man, it has just always been misunderstood, that's all. Now, why F/G concludes well in C, almost better than G7… still a mystery to me.

Gustavo

My favorite tri-tone is definitely the first two notes of "Maria" from West Side Story.

followed closely by the maj 3rd/7th interval in the classic Stick #9 voicing:



Are you coming to the seminar, Gustavo?

Of course I meant my comment in a different context, but, I get what you are saying. I'll be attending the Northeast Stick Seminar, c'mon down from Montreal and we can talk more about the Tritone in all of its glory. Maybe we can play a few too

Cheers

John

>>Now, why F/G concludes well in C, almost better than G7… still a mystery to me.<<

Because F/G =GFAC which is a G9sus. It's still a V dominant chord but with color and resolves nicely to the tonic. If you hear the F triad seperately resolving to C, that's a plagal cadence lV to l (amen cadence). Add the G bass and you have the best of both world's, a built in V and lV (F/G) resolving to l.

Perhaps these types of ideas will be explored at the seminar?
Perhaps.

See y'all there
Theo Rhee

Hello Greg and John, some time ago when I first saw the invite I had all the intentions to go, as I have never participated on one of these seminars and was looking for the chance to finally meet you, a lot of people from the group and theorize about the advantages of using your pinkie when playing these instruments... .

This time, NY is close enough for me to drive there, but my grandmother insists giving us the opportunity to celebrate her birthdays, she’s turning 93, and for the occasion I will be in Uruguay, departing the 29th. I wish you all a great event, and do my best to catch you the next one.



Steve, short, elegant, perfect explanation. The amen cadence!.... going through the IV was to me a way to pre-end the piece, probably because (using your example) the use of C and A, giving the idea that you are "almost home".

Great thread, best regards,

So as not to hijack Brett's seminar thread, I started a new subject under Manny's "Inspirations" category. I call it "How the tritone crept in".

viewtopic.php?f=14&t=3957

Best, Emmett.

Hi Brett, Any new word on the NE seminar? I know the date is still a month away, but I just wanted to know if it is a definite go. Looking forward to it. Thanks, Mike

ABSOLUTLY!!!!!

We are ready to go I will send out a questionaire with meet and greet info this week!!!

I can't wait this is gonna be a great one.

Brett