"Steve Latham" <llatham@[EMAIL PROTECTED]
> wrote in message
news:n9EFj.943$o35.928@[EMAIL PROTECTED]
> All this talk has gotten me interested.
>
> When do Tritone Subs come on the scene?
>
> Is it something where players started substituting these chords for a V7
> in an already written piece, or where composers actually writing them
in?
>
> Are they found in Glenn Miller? Where people doing them in "head"
> arrangements (any that were written out)?
>
> Anyone got a "Brief History of the Tritone Sub"?
I think it arose in the nineteenth century, without any attempt to think
of
it as a 'tritone substitute' for something, but rather as an extension of
the idea of the 'German sixth' -- the augmented 6th interval now expanding
to an octave on the tonic, instead of on the dominant. Intermediate steps
might perhaps have involved the use of a Ger6 as a common tone decorative
chord, with the augmented 6th resolving to the fifth of tonic harmony (as
in
Schubert's 'Am Meer'), and the use of a common tone diminished seventh
chord
resolving in the same way. Calling it a 'tritone substitution' might just
have been a handy way of getting players to push the right notes down
without spending rehearsal time on obscure theoretical definitions --
though
having said that, it ought to be pointed out that quite a bit of atonal
and
serial music has been analysed in terms of tritone-related keys...
Sorry if this has all been said here before...
M.
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