more tritone substitution fun

If you scroll down this blog, you’ll see another entry about tritone substitutions and why they work.  Basically, any dominant chord resolving to it’s respective one chord can be substituted with another dominant chord a tritone away.  In practical terms, this means that Dm7 G7 Cmaj7 becomes Dm7 Db7 Cmaj7.  Notice that Db7 is a tritone (or #4) away from G7.

The true scale that goes with the Db7 is called lydian dominant.  You can think of it as a dominant scale with a #4 (like lydian) or a lydian scale with a b7 (like dominant).  The notes would be: Db Eb F G Ab Bb Cb.  As you can see, the #4 or lydian note is G, which gives a nod to the G7 that it came from.

Another example in a different key would be to take ii V I in F: Gm7 C7 Fmaj7.  It would become: Gm7  Gb7  Fmaj7, and the lydian dominant scale would be: Gb Ab Bb C Db Eb Fb.

You can also use pentatonic b6 to create lydian dominant.  Look at it as II/I (two over one).  In the case of Gb, you would play Ab major pent b6, which gives you: Ab Bb C Eb Fb, which are all the important notes in a lydian dominant sounding scale.

These scales are useful for any tritone substitution or any chord that looks like:  X7#11.  Enjoy!


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