Tritone ii-V substitution

[JohnHorne]

Hey all:

Is there a widely accepted name for the following cadence, where the entire ii-V is a tritone away from the usual diatonic ii-V changes?

Abm7 -Db7 -CMaj7

Seems to me I knew a term for this once, but I can't recall it at the moment. Thanks!

[Mike A]

Hi John,

I don't think I've ever heard a common name for this one (unlike, say, the "backdoor progression," iv7-bVII7-I) ... but I'd be interested to know if you come up with it!

How about the "Satin Doll Cadence"?

Cheers,
Mike

[JohnHorne]

Something like the "backdoor ii V I" was what I was wondering about. I do like your suggestion! Thanks.

[jazz oud]

I've always just called it a "Tritone ii-V" . . . I think anyone would know what that means.

[engelbach]

Originally Posted by jazz oud

I've always just called it a "Tritone ii-V" . . . I think anyone would know what that means.

Ditto.

[Jeff Brent]

Chapter 8 (Reharmonization) of Jazzology states:

... replacing the expected VI7, II7, and V7 chords with their appropriate tritone subs results in the Tad Dameron turnaround.

| Cmaj7 Eb7 | Ab7 Db7 |
| I maj SV/ii | SV/V SV/I |

It doesn't make any difference (for example) if the Ab is a m7 or dom7, the root motion is identical.

[jazzman1945]

II- V - I

sub II- sub V - I

[cajazz]

Yeah I think it is or at least could be called: (for tritone substitution of V7 [bII7]) simply: "Sub ii - V/I or in a strict Roman Numeral Analysis: bvim7—bII7—I.

Db7 has a root a tritone away from the G7 (V7/C) and applying the related iimi7 of Db7 (which is 'Sub V/C i.e. a half step root resolution to the CMaj7) gives you Abmi7—Db7—CMaj7. So if Db7 is sub V/C, then Abmi7—Db7 in this harmonic context could be called sub ii—V (of CMaj7). I hope that works for you, or at least lines up with what you previously thought it was.

[joelr]

Bergonzi calls them substitutions FOR the changes.
As opposed to substitutions against the changes where you might go D-7, Eb-7/
Ab7, G7/Cmaj7. In this case your sub is not replacing the V chord.