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Along Came Betty chord Along Came Betty chord
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  #1  
Old 11-09-2011, 10:51 AM
 
Join Date: Nov 2011
Posts: 12
Default Along Came Betty chord
On bar 8 there is a Gb7 chord. How should I approach that chord (besides as its own) I mean is it a b5 sub or...?
The changes look like this
Gmaj7| Gb7| F#m7|Gm7 C7|
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  #2  
Old 11-09-2011, 10:55 AM
 
Join Date: Mar 2008
Location: Northern NJ
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How did you approach the Ama7 to Ab7?

Bbmi | Bmi-E7| Bbmi7 |Bmi7 E7| Ama7| Ab7| Gma7| Gb7 etc
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  #3  
Old 11-09-2011, 10:57 AM
 
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Quote:
Originally Posted by JohnW400 View Post
How did you approach the Ama7 to Ab7?

Bbmi | Bmi-E7| Bbmi7 |Bmi7 E7| Ama7| Ab7| Gma7| Gb7 etc
as a b5 sub of D7.
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  #4  
Old 11-09-2011, 11:33 AM
 
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Quote:
Originally Posted by JazzRocker View Post
as a b5 sub of D7.
Well there you go! :-)
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  #5  
Old 11-09-2011, 11:47 AM
 
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B Mel Min is sounding good. Would that mode be called a Mixolydian b6?
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  #6  
Old 11-09-2011, 12:03 PM
 
Join Date: Mar 2010
Posts: 600
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Quote:
Originally Posted by JazzRocker View Post
On bar 8 there is a Gb7 chord. How should I approach that chord (besides as its own) I mean is it a b5 sub or...?
The changes look like this
Gmaj7| Gb7| F#m7|Gm7 C7|
Don't know along came betty but ..........

are those chords correct ?

I mean Gb7 then F#m7 I mean Gb is same pitch as F#

just checking ...........
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  #7  
Old 11-09-2011, 12:18 PM
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Location: Los Angeles
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It's not a tri-tone sub. It looks to me like it's non-functioning really. I would just think the arp, mixolydian or lydian dominant. The chart has a passing #5 but I don't know, it's not in the melody. I would probably just simplify those two bars down to F# dominant (non-functioning) sound to an F# minor sound. That's just me and I'm definitely no master so take that for what it's worth. Haha
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  #8  
Old 11-09-2011, 12:32 PM
 
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Pat Martino uses an altered scale type approach on those two chord so you could use an A major type scale going to an A melodic minor scale for the Ama7-Ab7 section and then the same type approach for the G - Gb7.

The F#mi7-Gmi7/C7 is just like the beginning.
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  #9  
Old 11-09-2011, 02:40 PM
 
Join Date: Jun 2011
Location: Amsterdam
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Along came Betty (chords, first part A)

| Bbmi7 | Bmi7 E7 | Bbmi7 | Bmi7 E7 |
| Ama7 | G#7 | Gma7 | F#7 F#7b13 |
| F#mi7 | Gmi7 C7 | F#mi7 | Gmi7 C7 |
| Fma7 | A7b9 | Dmi7 | G9 ||
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  #10  
Old 11-14-2011, 12:39 PM
 
Join Date: Nov 2011
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Quote:
Originally Posted by JohnW400 View Post
Pat Martino uses an altered scale type approach on those two chord so you could use an A major type scale going to an A melodic minor scale for the Ama7-Ab7 section and then the same type approach for the G - Gb7.

The F#mi7-Gmi7/C7 is just like the beginning.
Does Pat alter all dominants? I was thinking the Ab7 was a Tritone sub for D7 and altering D7 using Eb mel min.
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