TRITONE SUBSTITUTIONS (Consentration on Gospel)

追加: 2026-05-20

[00:00:38]Yep. If you are here, welcome.

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[00:01:09]Yeah, I see Unelunu. Oh, God bless you, bro.

[00:01:14]God bless you.

[00:01:17]We are here. We're going to learn about Triton substitutions in gospel. How to apply them in gospel.

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[00:05:16]Okay. All right. So, we are going to jump right into it.

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[00:06:08]So, so, so, so, so if everything is fine, I think we can just jump right into the lesson without spending much time.

[00:06:17]So, what are tritones?

[00:06:21]What are trionee substitutions?

[00:06:24]First of all, we want to um talk about the interval, the trionee itself. Then we go ahead to talk about trionee substitutions. But before we do this, um let's uh what what do we call it?

[00:06:44]Let's um look at some few things we will need to understand these triton substitutions depend heavily on okay extended chords especially when you come to our gospel play when it comes to gospel play you cannot be playing only the trones okay like that we need to understand a bit of extended chords seventh chords and stuff at least we need to be able to know what a seventh chord is, what a seventh interval is. So, let's look at the seventh uh interval. Okay, we have basically we have these uh three or four, yes, four seventh chords that we alter them here and there. We have the major 7. Let's go to the key of F.

[00:07:38]Okay. So, when you hear me major 7, you play the major chord as we know already.

[00:07:44]I know that and I'm sure and I I trust that whoever is here right now is not a complete beginner and at least you understand what a seventh chord is. So, the the um what do you call it? The major seven is the major chord with the major seven note. Okay? Which is the seventh note. So this is F major 7. Then the minor 7 of course you have the minor chord and then the flatted seventh. So this is F minor 7 also. And then we have the dominant 7. The dominant 7, the major 7. And then you add the flattened seven note. Okay. So this is F dominant 7. And then we have the diminish 7.

[00:08:32]Okay. This is F diminished 7. So we have F major 7, F minor 7, F diminish 7, then F dominant 7. Okay, which sometimes is also called uh just F7. Okay, as you can see on my screen, you can see F7 played over there. Now apart from the diminish 7 which has uh a width of a sixth interval. Okay.

[00:09:08]And the major 7 which has has a width of a major 7 interval. The rest which is the dominant 7 and the minor 7 both uses or has has a a width of or they have a width of the one to the flattened seven. Okay.

[00:09:29]Uhhuh. So uh in the um Ghanaian local or Ghana among Ghanaian musicians we call it to okay or most of most of the African countries they call it to. All right. Uhhuh. So most of the times you see people not playing the full chord like this. You see them playing a shell like this. Okay. For example, if I want to play a two chord in the key of F, you see me play this.

[00:10:01]on my left is actually supposed to be a minor, okay, chord, a minor 7 chord, a G minor 7 chord. But I've omitted these two notes, okay? Because they are here already.

[00:10:19]All right. Uhhuh. That's one reason why I would omit them. Okay. And then it can also mean a dominant 7 because if I shape it like this, it it has now become G dominant 7. So in this lesson, you're going to see me more, you know, doing more of these uh shell chords on my left hand. All right?

[00:10:48]You see that on the five is a dominant seven chord. Okay? is a C dominant seventh chord, but I'm not playing the full chord like that. You see me do this on this one too is a dominant seven chord, but I'm not playing the full chord. I'm just playing the shell. So, you see these shell chords most of the times. Okay? And the moment we start adding other notes on the shell chord, you'll see that uh we'll be creating nines, 11s and stuff, 13th chords and stuff like that. Okay? Flat nines and stuff like that. 11th.

[00:11:23]All right.

[00:11:25]Uhhuh. So take note of that. Now we are going to talk about the trionee.

[00:11:31]What is a trionee? What is a trionee?

[00:11:35]You hear try and then you hear tone. So we are talking about three three tones.

[00:11:41]Three whole tones. So on any note the trionee interval uh goes up to three tones away whether behind or uh forward. So from here a whole tone or a whole step from here from F. We jump over this and come here the second and then the third.

[00:12:04]Okay. So it's either a whole uh whole steps three whole steps put together or a distance of six semmitones like when you are starting from F you count 1 2 3 4 5 6 so that's the trionee interval some people call it the devil's interval because when you count ahead or in front you get the same notes and then when you do it behind two let's count 1 2 3 4 5 6 it ends on the same B. Okay.

[00:12:50]So this one if I turn it this way it's going to end here the same note the same E flat. Okay.

[00:13:04]All right. So that is the trionee interval and the trionee is mostly found in the dominant in dominant chords. If I play F dominant 7, you realize that there's a trionee interval between the third and the seventh. Okay.

[00:13:22]So most teachers will tell you that in every dominant chord the most important uh notes or in every seventh chord the most important notes are the seven note and the third. Okay.

[00:13:36]So that is uh where we find the trionee interval on the third and on the seventh. Okay. From the third note to the seventh note. Good.

[00:13:47]So uh the trionee for maybe a E will end me here. If I want to play C dominant 7.

[00:13:56]Okay, I have that trionee in there. B flat dominant 7. I have the trionee here on the third from the third to the seventh note.

[00:14:08]Okay.

[00:14:10]All right. Now let's look at something.

[00:14:13]The trionee has uh a certain characteristics whereby it's always being shared by two keys.

[00:14:22]Okay, for example, let's look at this.

[00:14:29]F dominant 7 is here.

[00:14:37]Now look at B. I'm going to play B dominant 7 also.

[00:14:43]B dominant 7.

[00:14:46]Okay, this is the third in B dominant 7.

[00:14:54]This is the seventh in B dominant 7.

[00:14:58]So I'm going to leave both of them on.

[00:15:00]Then this is the third of F dominant 7.

[00:15:02]This the seventh of F dominant 7. So I'm going to leave both of them on. Are they not the same notes? They are the same notes. Okay.

[00:15:11]Uhhuh. They are the same notes. So B and F share the same trionee uh notes on the third and then on the seventh. And the distance from F to B is also a trionee interval.

[00:15:27]Okay. So then wherever I am playing a chord on an F. Okay. Whenever I'm playing a chord on an F, I can always substitute that F chord, okay, for a B chord, okay? When we are talking about dominant chords, you can always substitute an F dominant for a B dominant.

[00:15:52]Okay. Seven chord. All right. Because of the trionee interval they share and the notes they share. Yes.

[00:16:02]So we are going to try and apply this in a few songs and you you understand what I really mean. For example, um let me pick a song like you.

[00:16:27]And mind you when we say dominant we are talking about the fifth. Okay. In every note in every key um we we have the tonic which is the one the second which is ray the third which is me the fourth okay which is far. Then the fifth which is so and the fifth is also called the the dominant. Okay. Uhhuh. So for those of us who understand and I I believe so that we all understand circle of fits.

[00:17:00]Okay. Uh before you play any chord, the circle of it basically means that before you play any chord. For example, before I play a an F chord, okay, I can play its fifth. What is the fifth of F or the dominant of F? The dominant of F is C. So I can play C before I play the F.

[00:17:21]then it makes the F sound good. Okay.

[00:17:24]And I can also play a a dominant of the C before I play the C and then I will intend play F. So it's going to be like you are stacking some dominance. Okay, you are stacking them. So that's why you play most of the times when you play you go to R it takes you to five also then takes you back to one. Okay. Uhhuh. So we are going to whenever we want to play a certain chord and we want to play its dominant before we play that chord we substitute that dominant for its trionee for example if I want to play this uh progression of this song I'm just singing the glory We worship you.

[00:18:29]You are. You see when we go to U 6, the distance between the six and the two is a fifth interval. So it's like we are playing the the dominant of the two then it takes us to the two. Okay. So you play the six and it takes you to the twoha and now this six okay which is the dominant of the two can now be substituted for uh its trionee. So where's the trionee interval from this six note let's go let's count six semmit tones 1 2 3 4 5 6 it ended as on the flat three. So instead of playing We are going to play you.

[00:19:26]You see that?

[00:19:29]You will be praised. So most of the times on that um on that interval you see that I'm playing a seven shell chord and then I add my melody.

[00:19:50]Then for the other notes in between I can choose to make it uh maybe uh I can choose to make it a flat nodes.

[00:20:01]Okay. Or uh let's see I can choose to make it uh sometimes you also use your ears. You don't just chew the chords.

[00:20:21]Okay. You use your ears.

[00:20:24]All right. Uhhuh. I'm trying to add an upper structure there. There's a sharp 11.

[00:20:30]Okay.

[00:20:33]So I can say he give you all the glory.

[00:20:44]We worship you.

[00:20:52]Okay.

[00:21:00]Instead of You get that? Uhhuh. Or I can go.

[00:21:10]Um, you see the chord I I I used be praised.

[00:21:35]So I want to know at the comment section if all of you understand what I'm trying to mean or what we are learning. If you don't understand, you can let me know at the comment section and then maybe I'll go over it uh what I've said so far.

[00:21:53]Yeah.

[00:22:02]Do you all understand?

[00:22:16]Do we understand?

[00:22:18]The comment section, please let me know.

[00:22:27]Okay. So now we give you see we are going to we going to the five. Now now what in the circle of fifth what note takes us to the five?

[00:22:43]It is the two. Okay. Because when we pick the the key of the five it dominant is this note. Okay, it's dominant or its fifth is the ray. So we can substitute the ray for its trionee. Well, sorry.

[00:22:59]Where's the trionee of the ray or the two? The trionee of the two is this note. Let me put my chart there so that you can you can see it. Uh you can understand this properly.

[00:23:13]Yes. So I have this chart here.

[00:23:16]When you go opposite directly opposite you find every key and it trone. Okay.

[00:23:22]So um we are going to play you see in the circle of fifth it will be five.

[00:23:35]So now this two we are playing what is it tronee interval? The trione interval from the two will end us on the two is a g. So looking directly opposite to the G you find a uh a D flat okay which is C sharp. So it means that instead of playing the two we have to play a D flat okay like that then it will take us to the five like that. So we give you the before we go to there we have to do we give you five and now these two is now being substituted for this.

[00:24:24]Okay. Uhhuh. Why? Because the the G and the D flat they share the same trionee interval on the seventh and on the third. If you play D flat dominant, you have this trionee. And if you play G dominant, you have this trionee. The same two notes, the F and the B. Okay?

[00:24:48]So you can substitute them for each other. So there you go.

[00:25:06]You see that?

[00:25:13]For the melodies you're going to use, it depends on you. It depends on how you hear it, how you want it to sound. Okay?

[00:25:20]So, you can try a few instances and then you see whether you want to use a ninth or you want to use a 13th or whatever.

[00:25:29]Okay? So, we Somebody can go.

[00:25:41]Okay.

[00:25:44]Now, this chord I'm playing, can we expand it a bit? Yes, we can. We can we can um we can leave these two notes here.

[00:26:02]You can do something like this.

[00:26:06]Okay.

[00:26:09]There are people who have, you know, very wide.

[00:26:15]Okay. Uh palms so they can stretch that far. But if you can't stretch that far, it's not a problem. You can just play it like this.

[00:26:24]But sometimes it sounds good when you're able to stretch it.

[00:26:27]We give you >> Let me change my melodies.

[00:26:34]You see that?

[00:26:45]My hands are not that wide though.

[00:27:00]Oh.

[00:27:01]Uh.

[00:27:04]Ah.

[00:27:07]You see how that one sounds instead of this?

[00:27:15]This is so basic. You see? So, let's try another one. the glory. We worship you.

[00:27:24]>> We are now coming to two. And before we come to the two, we worship you.

[00:27:33]What note can take us to the two? It is always the six. The sixth is the dominant of the two. So we can still again substitute the six for it trione away, which is when we count six semmit tones behind 1 2 3 4 5 six. So we worship we worship you. You see that we worship we see.

[00:28:09]So you can most of the times when you we are going to the two you can most of times use this passing but it takes you to the two we now are going to the six. What is the dominant of the six? This is a D. What is the dominant of a the D or the fifth note of the D?

[00:28:39]Somebody tell me at the comment section?

[00:28:43]What's the dominant or the the fifth of the D?

[00:28:50]Yes. Yes. Yes. Yes. Yes. Yes. Yes.

[00:28:52]Somebody tell me at the comment section.

[00:28:55]It is the A. Good. So the A can take us to the the D. Very good. But what is now? So we are going to substitute the um we are going to play the trionee substitution of the A. Okay. So we count 1 2 3 4 5 6. This is the E flat. So the E flat will take us to the six. Okay.

[00:29:17]Instead of the the three. So we are instead of playing you see we are going to you're going to play.

[00:29:46]You see that instead of you're going to instead of be praised. You got it.

[00:30:07]Then we go instead of even to the four. We can use a trionee sation to go to the four. What is the fifth of the four? The fifth of the four is F. And what's the trionee interval or a trionee away of uh from F? It is a P.

[00:30:40]So we can move from the what do you call it the B to go to the B flat. So I'll form this chord on the B.

[00:31:03]It takes you to the four. So we give you alone.

[00:31:37]worthy to be praised.

[00:31:43]Okay.

[00:31:46]Is it well understood?

[00:31:48]Please let's communicate. Is it well understood?

[00:31:52]Because I want everybody to get it before we move to the next example.

[00:32:13]All right, let's go to the next example.

[00:32:15]Um, let's look at this song.

[00:32:24]Okay, so my hiding place.

[00:32:33]You always fill my heart with songs.

[00:32:40]Uh somebody said I am what I am realizing is some of these things I play them but don't really know how the concept. Yeah. Yeah. Yeah. Yes. Uhhuh.

[00:32:52]So now that you are seeing it, you understand it better and you'll be able to really apply them well. Okay. So let's look at this song. You are my hiding place. Go to the five.

[00:33:06]You always feel one. My heart with songs for deliverance to level three. I am afraid. I will tr I will trust in you.

[00:33:33]I will trust in you.

[00:33:39]Lord we say I am strong in the strength of the Lord.

[00:33:55]So this is the basic arrangement of the song. Now we are going to apply the trone substitutions. So first you see from the six you are then we came to my play. So now the six has a trionee interval away which will end users on the flat three. So you can play the trionee you can play the six and then you play eight trione interval as a passing or eight trionee sation as a passing then it takes you to the two. So it's going to be you are my place. Okay, then we already know that um let me let me do the the the first one. I don't want to stack all of them else you get confused. So you are instead of you are my place we are doing you get it.

[00:35:08]Then we are going to fire five.

[00:35:10]And now the two can also be substituted for a trionee away which is 1 2 3 4 5 6.

[00:35:20]So instead of you are my hiding place five you can go flat five flat 6 five. You see? So it will be you are my hiding place.

[00:35:44]You are with my heart.

[00:35:50]Okay. Uhhuh.

[00:35:53]And now um before we even go to feel my heart which is the one somebody can also think about the the fl uh the the tron substitution of the five. You always feel my heart. What's the tron away from five? You count six semmit tones. 1 2 3 4 5 6. So D. How can you count from flat two to one? But it's possible. Let's see.

[00:36:31]You maintain your melody. you are.

[00:36:40]Yeah.

[00:36:51]You see, somebody's asking, is it only the dominant five we can base on to then determine the trionee you use? Yes, in that sense it makes it, you know, uh sound good. It sounds better. Okay. Yes.

[00:37:10]Because they work on dominant chords.

[00:37:13]Okay. Uh they work on dominant intervals better. So you are the heart and place when songs now we are in four which is far. So let's look at the the trionee um the fifth interval of the four. It is and what is the trionee substitution from the one is this. So we can move from here to the four. So like this. You are my he instead of songs.

[00:38:20]Okay. Uhhuh.

[00:38:23]So when you look at our um what do you call it? Um B flat directly opposite to the B flat is an uh uh what do you call it?

[00:38:35]It's a E. All right. Uh so you look at uh the trionee away.

[00:38:43]Let me check this one.

[00:38:49]No, that's a B. Yeah.

[00:38:52]So you are my place.

[00:39:06]I'll be your friend. I will trust in you.

[00:39:22]I tr in the strength of the Lord.

[00:39:46]You Now then when you you have the trionee substitutions like that you start to also alter them. For example I might do you are my heart.

[00:40:02]I know that I'm going to this note. So let me try and create some other instead of the 13th chord on the flat three. Let me try and create some other crazy ones.

[00:40:29]You Ah.

[00:41:00]Okay. So, I'm just trying to, you know, play around with some of the melodies, but my dominant movement on the left will be the same.

[00:41:51]You see that?

[00:42:01]See, I'm just playing something over the flat three.

[00:42:13]You see that? So, let's pick another song. Um, pass me not to see here my oh Christ. Somebody said what? I surrender. You won, bro.

[00:42:42]All others thou are holy do not pass.

[00:42:59]Okay, we going to look at that song.

[00:43:10]Okay. Now, before we go to the the six, let's look at the fifth of the six. We could have done C 3 which is F which is like a 51. When you look at the six as your one, you see that this is a five one. Okay. So, let's substitute that fifth or that dominant for it trione. Trion away will be 1 2 3 4 5 6. So the E flat. So you can do see that to see.

[00:44:08]or this one sounds better.

[00:44:13]Yeah, the 13th before we go to the ri you can also use the flat three again.

[00:44:23]Okay. So pass me on to see here my oh father now adore all You must be miorful.

[00:45:20]You see that my ar now the the two has a trone here. So I can go my I am here.

[00:45:40]Cry.

[00:45:43]Oh cry.

[00:45:48]Why?

[00:45:50]Oh go. Why did we move from here to the four? Because you can do okay from the one to four but the threat subition of the one is this one. So we can move from here to the four instead of from one to the four. So now we play it this way.

[00:46:27]Oh, how does thh Huh?

[00:46:48]Ah, you see Unell. Unel is asking me to play it in C. Oh, Unell, you have to learn all the keys. Unell. It's been a long time since I got to know Unell. O'Neal is not learning all the keys. O'Neal is still playing only C. Oh, O'Neal, what are you doing in the UK? Oh, okay. So if I'm doing what I'm doing in C uh I can go in my heart.

[00:47:56]You see that star of God.

[00:48:15]Somebody's saying to place is the sub only done in the left hand or have uh or you have to play a chord on your right to match.

[00:48:29]The left hand normally shows us where we are going just like the bass player gives us the platform in every music.

[00:48:36]Okay. In every um progression that's why you see the left hand showing us where we are moving to. But the right hand is free to do the uh coloring. Okay. Over every dominant chord whether it's a seventh or a ninth or whatever you are doing. So your left hand should show us what we are moving. Okay. Uh that's the job of the left hand to to hold the progression for us for us to know that okay we are doing the trun but the right hand is free to do the coloring. Okay.

[00:49:05]and alterations. That's how it it it works.

[00:49:09]All right?

[00:49:12]Because your root note is mostly is always in your left hand. Okay? So, let's pick another song.

[00:49:24]See how far you brought me worthy.

[00:49:36]I can see, I can tell, when I know is your grace.

[00:49:44]All my days I will sing your praise.

[00:49:56]Okay, now we are going the five. Let's look at the five. What is the dominant of the five? This C it is the G. So we could have gone huh in the circle of it. So now we going to substitute this the G for it trione.

[00:50:16]So it's going to be So now you should be familiar with the the trend that anytime you want to go to the five we can go a half step before it. Okay. So it it also tells you that basically you can you know um make things easier for you by thinking of it like this.

[00:50:36]Every chord okay can be approached from a semmit tone.

[00:50:42]Okay. before it.

[00:50:46]Okay.

[00:50:53]Aha. So you go before you go to you can do you see I play the E C sharp 7 then I added the flat 11. Okay.

[00:51:15]Uhhuh.

[00:51:16]So >> somebody said what? Boss, did you complete cast? No, no, I didn't complete castle.

[00:51:36]Okay.

[00:51:38]Ah, okay. You asking onel. Okay. Okay.

[00:51:40]Okay.

[00:51:51]You see you're going to the six. So you can come from a semmit tone higher than that.

[00:52:01]You see I'm going to the four. So I can go from Oh, I know.

[00:53:19]Oh, you see, let's pick another song.

[00:53:24]Uh to worship you. I do worship you. I do worship you.

[00:53:38]Oh 1 5 1. So what's the trone away from the five? the tron subdution. It's going to end us on this one. So, yeah.

[00:54:09]hit.

[00:54:23]Oh yeah.

[00:54:38]That's all.

[00:55:17]Uh, there's Mr. J says, "Please one day you can teach us about the making of patches and the proper use of stuff like cut off resonance." Oh, yeah. Yeah. I'll do that. I'll do that one time.

[00:55:38]Somebody says, "Bro, cut I beg is enough for today. We are fool." Oh.

[00:55:48]So, um, tomorrow, tomorrow is a Thursday. Yes. Tomorrow we're going to meet on Tik Tok. Okay. On my channel on Tik Tok. And we're going to learn a bit.

[00:55:58]But, you know, the ones I give you here are thicker. Okay.

[00:56:04]So, um, for those of you who have enjoyed the the Tik Tok as well, you can ask any questions you want to ask. tomorrow.

[00:56:13]Tomorrow is going to be a general uh questions and answers. Okay. Yeah. So, that's what we're going to do tomorrow on Tik Tok. All right. So, soak into this lesson and then try to get a few songs and apply them and I think you're going to sound great. All right. You're going to sound good. Yes. God bless all of you. Please, if you've not subscribed, subscribe. Share the link to somebody else. Share the link to somebody else. Subscribe. Subscribe.

[00:56:42]Tell a friend to tell a friend to tell a friend to subscribe to share the link.

[00:56:47]Give any comments, like them and all that. All right, for the patches, the sound patches, I'm going to show you guys even if you have a simple VST, how you going to tweak them to make them sound good. Okay, one day I'll teach that on Tik Tok as well. Okay. And then when you go to Tik Tok on my bio section, you'll find a WhatsApp link there to my WhatsApp group. You can join where I post most of these lessons over there so that you you you'll be updated on um what do you call it any info that I give. Okay. So, God bless you. God bless you. God bless you. We're going to talk again. We're going to meet again uh in a few days time. All right. God bless everybody. Bye-bye.