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What is so special about the devils interval (tritone)? As an octave has a 2:1 frequency ratio, the tritone should have a Sqrt(2):1 frequency ration However, the value of Sqrt(2) is particularly hard to represent as ratios of whole numbers (It's actually the second-hardest number to so represent The Golden Section is the hardest ) In just intonation one gets a ratio of 45 32 for the tritone
modulating by a tritone - Music: Practice Theory Stack Exchange Another important thing to notice is that due to the tritone interval between the roots of the two keys, also the V7 chords of both keys are a tritone apart This means that the V7 of the first key is the tritone substitution of the V7 of the new key Example: C7 is the V7 of F major, and F#7 is the V7 of B major
Whats the difference between the tritone and the blue note? A tritone is simply an interval of three tones So we can say that a note an interval of a tritone above the root could have the same frequency as a 'blue note' played between the fourth and fifth That's not to say that a tritone above the root is a blue fifth though - blue notes are more complex than that
What is tritone substitution? - Music: Practice Theory Stack Exchange Tritone substitution is as it says The substitution of one chord for another, that is a tritone away from the one being substituted Thus a V7-I ( G7 - C ) becomes Db7 - C Because the Db is a tritone, or 3 tones away from the G Exactly half way, as it happens G7 is spelled G,B,D and F Db7 is Db,F,Ab and Cb
How does any given major key contain only 1 tritone? There is the tritone that exists between the perfect 4th and 5th and inverts perfectly to the octave, and a tritone is defined by any jump of three whole tones (steps) The tritone is the dissonance in a Dominant7 chord, and inserting one in Minor scale's dominant chord raises the seventh degree in Harmonic Minor, etc
Tritone substitution to a major chord? - theory In it he describes a tritone substitution as a "V, ii(II), or vi(VI) chord travelling from V to I being replaced with a dominant or major chord whose root is a tritone away" (p 28) Now my understanding was that a tritone substitution only involves subbing the (V) dominant chord with another dominant chord whose root is three whole steps, (a
piano - Tritone sub for a minor chord - Music: Practice Theory Stack . . . But when we're dealing with something like a minor triad, only the latter definition applies, because there is no tritone in the chord So in an instance like this one with a minor seventh chord, since there's no tritone in the chord, we just build a chord a tritone away Since we're looking at Dm7, that tritone away is A flat;7
The Tritone - is it a #4 or a b5? - Music: Practice Theory Stack Exchange Usually, the #4 b5 tritone would descend a semitone For instance, a common progression would be Gb7-F (maj7 or 7) Since we are in F major, a cadence like F#7-Fmaj7 is really rare (not that it doesn't exist) The most common use of the tritone is on the tritone substitution of the V7 chord, with the bII7 chord It wouldn't be nice to see #I 7
intervals - Why are tritones not consonant, confusion with the . . . A tritone has a mood, a fifth has a mood and they are different moods Even subtly different tunings of the same interval have divergent moods Music is not math first feeling second, it is not theory first practice second, it is feeling and practice first, math and theory second
Why are diminished fifths called tritones? - theory A tritone is in fact an interval of three whole tones, so an augmented 4th A diminished fifth is not technically a true tritone (although it is the complementing interval of a true tritone), but enharmonically it is the same interval And this is sufficient for modern practise to consider a diminished fifth to be tritone