Just what is it about the tritone chord progression that makes it so mysterious? Perhaps it has to do with its dissonant, clashing sound. It may have something to do with its dubious history. Whatever it is, the tritone chord progression in music made a comeback in music after several centuries of bad publicity.

‘Tritone” is defined as a musical interval that spans three whole tones. A tritone chord may also be called an augmented fourth or diminished fifth chord. The tritone sounds like a clash, or as a dissonant chord. For this reason, the tritone chord was often avoided during Medieval times through to the end of the Romantic era.

For hundreds of years musical styles were, in large part, dictated by the church. During Medieval times, the tritone was viewed as too dissonant for use in common liturgical services. In fact, the tritone chord progression came to represent the devil. Perhaps as early as the 18th century it was commonly known as “diabolus in musica” (the devil in music). A great deal of superstition came to be associated with the tritone. Some church fathers in the Catholic church adhered to the belief that it may even serve to invoke the power of the devil. Because of this belief, the use of the tritone was banned by the church for liturgical use. Because of this negative association, even secular music produced during these centuries avoided it.

There is speculation that this chord may have been associated with the Devil for another reason. The tritone, as already mentioned, consists of three whole tones. Three whole tones equal six semitones. This may have led Christians to associate the tritone with the Biblical “mark of the beast,” or number of the devil: 666.

As with any widely held superstition, the tritone had a bad public image to overcome. Eventually some musicians cautiously experimented with the tritone, particularly during the Baroque and Classical music era. Finally, it seemed as though its stigma had been somewhat overcome during the Romantic period. Notable classical musicians like Vivaldi, Beethoven and Debussy inserted the tritone into various works.

When the equal temperament system of tuning came into general practice in Western music, the tritone began to make a comeback in contemporary songs. Still, it had remnants of its former reputation. The tritone began to appear in modern rock and roll, jazz and blues songs. Those with prudish natures denounced it, probably still subscribing to the old-fashioned church-propagated superstition. Despite some opposition, the tritone took hold. Today it’s used regularly and without inhibition.

Many musicians are still aware of its diabolical history. In fact, the tritone is sometimes still used in contemporary media to signify, represent or “invoke” the devil. One example of this is the 1986 movie Crossroads. In it, the main character, in a showdown of guitar prowess, ends a guitar solo with a tritone chord because of its association with the devil. However, its relation to ancient superstitions has been largely forgotten by the general public. Today, the tritone is used artistically, just another color in the musical palette.

Even non-musicians around the world are undoubtedly familiar with one of Johann Sebastian Bach’s more famous compositions, Jesu, Joy of Man’s Desiring. Usually, this song is played in a slow, almost reverent style during weddings or in religious and liturgical services. However, many music lovers aren’t aware that this recognizable tune was actually intended to be played in a much more upbeat manner.

The song was originally composed for accompaniment of voices, as well as traditional orchestral instruments, particularly woodwinds, strings, and brass. Today though, it is more often performed on piano and organ. It’s difficult to say whether or not Bach might be rolling over in his grave every time the slower version of Jesu, Joy of Man’s Desiring graces someone’s nuptial ceremony. Nevertheless this piece has won the affections of both aficionados and non-musicians alike. In fact, of all of Bach’s compositions, this one is his most recognized.

The German-born composer originally wrote his composition in the early 1700’s. It was performed publically for the first time on July2, 1723 as part of Bach’s cantata: “Herz und Mund Tat und Leben” (“Heart and Mouth and Deed and Life”). What is perhaps less known about this fondly-loved composition is that the underlying choral melody was actually composed by violinist Johan Schop.

Schop was something of a pioneer in the music world during the early 1700’s. Considered to be a virtuoso, his technical ability was largely unsurpassed by his contemporaries, and certainly unequalled by his predecessors. Despite his immense talent, Schop has since faded into the background. Today, Bach himself is attributed most of the credit for Jesu, Joy of Man’s Desiring.

The piano arrangement of Jesu, Joy of Man’s Desiring that is most familiar to listeners in the 21st century was actually transcribed by British pianist Myra Hess, well over 100 years after its composition. It is this adaptation that has stood the test of time as far as popular recognition goes, and is how the song is most often publicly performed today. When it does happen to be accompanied by English-speaking voices, it is sung to the words that were translated from the original German to English by the prominent 18th century English poet Robert Bridges. The English version, though, diverts somewhat from the original German. Bridges obviously did what poets do best, creating a poem that still echoes the sentiments of the original work, but contains flowing rhyme which is easy to sing in its translated English.

Since its first public performance nearly three centuries ago, Jesu, Joy of Man’s Desiring has been adapted and performed by hundreds of other musicians and artists. Even modern artists, such as Josh Groban, continue to make this song one of classical music’s most renowned and adored tunes.

Even though Bach did not consider this piece his favorite or best work, it is probably the most widely recognized of all of his compositions. Because of its mainstream popularity, this song will undoubtedly continue to surface at weddings and other public performances for hundreds more years.