Theory question

A couple more questions: Since a subV7's importance lies in the inverted tritone of the original V7 (which it is the sub of) and its root (which is a tritone above the original V7's root), is it correct to include the 5th of the triad or will that 5th lose the ambiguity of the subV7's inverted tritone?

Also, is harmonic rhythm only about strong and weak beats or does it include otherfactors?

I'm rackin my brain Man, It's been way too long. Basically, with jazz the 5th is pretty much always implied. I.e, it is unnecessary. It's the bass note that defines (or differentiates) between the V and the SubV. Remember, when soloing over changes typically they use different modes of the same chord scale.

Another question I have is about contiguous II Vs. The description reads: The II V pattern is sometimes used in ascending rather than descending motion. When this occurs, functional analysis (Roman numerals in a key) is no longer relevant. The chord progression is justified on the basis of continuity and repetition in the melody, harmony and root motion. This is known as "non functional" analysis.

firstly, why would II V be so different if you played a V above the II rather than below it? Second, can anybody give a simple explanation of what contiguous II V is? [/b]

K - I think I know what

I agree with leightwing that the 5th is often implied. As far as harmonic color goes, the 5th is useless. Well, except for altered 5ths. I love using using augmented dominant sevenths at the end of phrases. It adds so much color. i.e.

original gm7 C7 Fmaj7 new gmin7 C+7 Fmaj7

Otherwise, the 5th can always be left out, especially when there are lots of more extensions. Almost never will you see a C7(b9#11) that includes the 5th. (unless it's #5). Even Bach left out the 5th sometimes in chorales, tripleing the root. With a tritone substitution, it's the interval of a tritone that makes it work, and the new root creates even more tension. Taking out the 5th actually clears things up. Here's what I mean about the interval.

Key of C major the V7 is G B D F. There's a tritone between the "b" and the "F". When I use the tritone substitution, I get Db7. Db F Ab Cb. F to Cb is a tritone, and re-spelled they are the same notes as before (F & Cb=F & B= B& F). The new root (Db) resolves down a 1/2 step, which feels great. Now even if the Ab resolves a 1/2 step to G, it is still lost with all the color of the tritone and the bass. In addition, by leaving out the 5th it's easier to invert the chord and get more interesting voice leading then just parallel resolution of the whole chord down a 1/2 step. Note that in "classical" music the bII7 chord does NOT resolve to the I, I think it is normally in first inversion and it goes to the I in second inversion then the V.

Also leightwing, I agree with your guess about the contiguous ii-V's. That is what I meant in my earlier post.