@JohnPaulRiger
I think the reason it works is because the Bm7b5 is the ii chord in the key of A. Please try inserting the dominant V (E7#9) before resolution to the A. Another beautiful substitution for the Bm7b5 is Bm9(11).
@jackwaterson7456
I think the ii7b5 functions so well because it’s basically a minor plagal cadence. I often use it as a substitution through modal interchange. Is tasty.
@vincossissonsable5689
The answer to your question about the resolution of b5b7 to the chord 1 tone below is actually in your video: it is just not the same pattern as the resolution of the triton when it is in a dominant chord. Actually the triton can resolve in many ways and the way it resolves in a dominant chord to the tonic chord progression is just one of them. That's all. And in some cases, it can even not resolve at all, for instance when it is used in the tonic chord of a minor key. Let's consider the chord A C M F# in the context of A minor: it is very stable as the tonic chord. It gives a "cabaret" flavor to the 1 chord, without resolution, despite the C/F# triton.
@basilmathai4228
I've heard you before, I like your ear oriented approach to resolving tritones etc in dim and half dim. The split in direction, seems like a staircase that leads to a landing which then takes two distinct staircases to wherever you want to go. A minor 6, seems to give an added finality to a minor, more mournful. While a half diminished functions like a more exquisite 9th, to be used as a more sublime rendition.
@kamilpeteraj762
The ii-7b5 is a rootless V7b9 with a suspended 4 in second inversion, with supertonic in the bass, which allows for stepwise motion to the root of the I. Very common in Chopin, List, Rach etc.
@geoffstockton
You can even get away with the major 7th in there in the context of VIImaj/V7 (B/G7 in C). On the piano that would be G and F between pinky and thumb on the left hand in the bass register with (ideally) a root position B major chord voiced by the right hand, voiced a tritone above the left hand thumb. It sounds wild but resolves beautifully to any kind of C major chord with it's 5th on top, facilitating a half-step resolve. So, C, Csus2, Cadd9, C6, Cmaj7, Cmaj9, C69. It can also resolve to any kind of C dominant chord with G on top. That can set you up for fun motion like G7 B/G7 C7 E/C7 F7 A/F7 Bb7, etc. to move to any new key from any other. Like a less traditional version of G7 G7/B C7 C7/E F7 etc.
@PeterBoynton
I am a sax player and I find these videos very helpful. You are very good at explaining the theory, and the pace is perfect for me. Sometimes when the topic goes into the weeds and my eyes cross, I stop the video and start again. Watching them over several times usually does the trick. Keep up the excellent content!
@joemillo
Hello Michael. You fell into my YouTube stream and I’m so grateful for that. I attended Berklee College of Music back in 1987 and have always regretted not staying to finish my degree. I’ve never given up playing music, and have really committed myself to going deeper in my understanding of theory. There are many avenues available today, but none that provide such clear and practical instruction and explanation. Thank you so very much for sharing your knowledge. It made a difference in my life.
@kierenmoore3236
17:33 … as for why Bm7b5 to A ‘works’, if you put Bm7b5 in its third inversion, isn’t it effectively an A(‘double-Sus’)#5 … so, the Sus4 resolves down a semitone to C#, the #5 resolves down a semitone to E, and the ‘Sus2’ kind of just melts away … ❄️😊
@alexanderhall1819
Just spent two hours this morning going through this video, and everything from my jazz piano book is finally clicking. Tritone substitution was such a confusing thing for me to learn, so super appreciative of the quality instruction. Highly recommend that everyone else pull up circle of fifths diagram and an online piano chord finder tool to make it more digestible - cheers!
@gonzalomunozg
Interesting how he shares his insights with the audience to capture deep thinking
@joelalexander4901
this guy has to be the most peaceful sounding, chill person ive ever heard. I LOVE this channel
@kjg31
going to come back to this to let it sink in, thanks
@richardfriedlander8281
It's hard to express how wonderful this channel is. Aside from the content there is another musical element that goes noticed but not expressed. Michael's tone of voice is somthing like a colloquy with each of us separately on the other side. But more importantly, almost every spoken word on youtube and television is a sales pitch with a kind of (pardon me) sleazy timbre. Michael's voice is like a friend sharing his day with us. Not enough people like you around these days.
@greysonwagner
All I can say is THANK YOU. I've watched quite a few videos on trying to understand Tritone Substitution, and you explained it so well that it finally "clicked"! Thank you!
@amarug
Love your videos. It always feels like going on an adventure to explore stuff together with someone who knows much much more than I, but somehow we still explore it together. Really really clever and naturally engaging format ❤
@babarayhey
I just discovered this channel recently. I love your content, Michael, even when I know a lot of what your talking about you are able to fill in gaps in my knowledge and provide wonderful examples. Your delivery is just the right pace and just the right amount of humor.
@ashleys2144
It's so nice to nerding out with you. You take us on a journey of testing and discovery. Thank you
@iamfrankbiesta
Again a superb video. So extremely well explained. You are a natural. Thanks!
@32582657