Music Theory

>>69122443
>why do we scarcely see tritone substitution in modern music?
Pop musicians don't use it because they don't really have a basic grasp on music theory.

Modern composers don't use it because functional harmony has been dead in everything but film scores for years.

>>69122915
fpbp

>strongest of any cadence I have seen

how is it stronger than playing the G7? sure, it's more interesting and varied maybe, but the pull back to the I with the G7 seems stronger to me

that tritone from F -> B really pulls to the I

Because it sounds 'jazzy' and pop music isn't being about sounding jazzy.

>>69123730
It is stronger, in my mind, because the stepwise motion is of a smaller interval. G7 to Cmaj7 as you mentioned has D-C (W) F-E (H) G-G (O) B-B (O) (Depending on how you voice the chord of course, but that is mostly where the tension come from). I believe that in tritone substitution, lacking oblique motion, the chord has more 'pull.' All chord tones in the Db7 are a half step away from the tonic chord, much like the viio chord, only descending to I. However, music is of course subjective, thus you are entitled to you opinion.

>>69125540
i totally see what you're saying

>>69122915
>Pop musicians don't use it because they don't really have a basic grasp on music theory.
this.

/thread

>>69122443
Shut up nerd

>>69122443
It's because the functional strength of dominant to tonic movement comes from the tritone resolving either outwards to a sixth, or inwards to the third.

When someone like a pop musician who doesn't understand this is asked to play G7 - C, they're much more likely to include this tritone expansion/contraction by accident in their voicing than if you ask them to play Db7 - C (where they're more likely to move the whole chord in parallel and drop a voice out, thereby weakening the dominant-tonic relationship altogether).

It's the same reason you don't see the Lydian flavour coming out over major chords (as an added #11) so often in pop music: pop musicians tend to think vertically, and generally aren't so good at considering the horizontal effect of their voicings, so it's trickier for them to stumble across voicings and movements that aren't already heavily codified into the way we've naturally learned to play and teach common progressions.

>>69123730
The same tritone exists enharmonically in the tritone sub - that's why they work.

G7 - C = [B F] -> [C E]
Db7 - C =[Cb F] -> [C E]

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35KB, 720x767px

>>69127298
How do I learn to speak like this?

>>69127463
That's all high-school level music theory - it's the sort of stuff you already know, you just don't know how to describe. If you want to learn the jargon, any introductionary music theory textbook should get you to that level in a week.

>>69127298
what is this "tritone" you speak of, I know what a tritone is but what are you talking about here?

>>69127701
Which bit are you confused about?

That the same tritone exists enharmonically in both G7 and Bb7, or all that talk about functionality, and the importance of the tritone being expanded/contracted over a cadence?

>>69127748
>about functionality
Yeah mainly, where would I be able to learn about stuff like this for free? My highschool music class was pretty low and we never learned things like this

>>69127701
The tritone interval between the notes B and F in the G7 chord.

>>69127865
Functionality in music is the idea that every pitch has a certain role or certain roles with respect to a key (that is, they have a diatonic function). You've probably heard the terms 'tonic', 'dominant', 'subdominant', etc - those are diatonic functions, and they are key to understanding how your series of chords relate to one another, and how they will feel in relation to your tonic centre.

It's tricky to point you to a single resource that will give you an overview of functionality since it's such a broad topic (you can imagine, since it's about how every note -and therefore every chord-tone of every chord- relates to every other note as well as to the local tonic).

Generally, it's the sort of topic that people break down into little steps and introduce gradually as you learn more about harmony (eg: they'll talk about why a V wants to go to a I or i, then why a IV, iv, ii, and iio want to go to a V; only once that's mastered will they start talking about deceptive motion and non-diatonic function.

As for places to start, openmusictheory.com, musictheory.net, and teoria.com can give you the basics, and you could move on from there to textbooks like Laitz's 'The Complete Musician', and Aldwell/Schachter's 'Harmony and Voice Leading' which I'm sure you can find pirated PDFs of online.