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Yes thanks fixed Thanks
Originally Posted by pamosmusic
I was referring to B-7b5 being a diatonic sub of D-7 as well as G7 ... the II V thing More connections etc...
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04-05-2024 11:57 AM
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But I don't know. I'm just confused. Your system doesn't make sense to me, you start with Cmaj then go to D- but are using the B-7b5 that is an Am7? Also, if it's a 3rd sub of G7 it should be B-7, no b5. Originally Posted by Reg
I did play the D- example, and it sounded nice. I just don't understand what I'm playing.
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The B-7b5 thing is a cool relationship in jazz...it's a Dm6 and a rootless G9, if you want to relate it directly to the harmony. Originally Posted by AllanAllen
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hey Allan recheck the post I fixed the Connections ...Sorry about confusion, my bad. Originally Posted by AllanAllen
The B-7b5 is a Diatonic sun of D-7 from the Vid.
The Cma7 is just an example of how you would go through the process of becoming aware of Diatonic subs.
ex. Key of Cmaj
Cma7.... Diatonic Subs are...
1) up a Diatonic 3rd... E-7.
2) down a diatonic 3rd...A-7
Dmin7
1) up 3rd Fma7
2) down 3rd B-7b5
etc...
G7.... Diatonic Subs...
1) up 3rd B-7b5
2) down 3rd E-7
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Yeah. Disclaimer: everyone thinks about these things in very different ways, so reg will in all likelihood mean something slightly differently than what I’m getting. Originally Posted by AllanAllen
But when you’re talking about diatonic subs, you’re essentially talking about upper structures, which I know you understand them because you essentially explained them in your original post.
We’re talking about the idea that playing an Am7 gives you A C E and G over that place where a bassist is outlining D minor … so you are essentially playing a Dm11, and it’s a lovely sound.
Reg is doing two things … he’s simplifying first. So any diatonic chord can be a useful upper structure … but some are less useful than others (things that contain the 4 being used over a major chord, for example) and, as is the case with most things, there are a few options that are far far far away more common than others. So the chords a third up or a third down from the parent chord, are by far the most common and it’s useful to work on those first. So for Dm7, that’s Fmaj7 and Bm7b5, for Cmaj7 thats Em7 and Am7. Dominants are a little different.
And then when Reg talks about using these things as references or tonal targets, (I think) he’s talking about taking, say the Em7 for C major and now B7 becomes a cool approach chord for that, and F#7 for the B7 … now you have this really cool back cycle that is both very inside and logical, and also outside and hip.
I think the operative thing for now, is just to get used to the big diatonic subs. The cycling kind of necessarily comes later, after you’re able to use some of those things for color.
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yea... so is it a II V all in one chord...LOL Originally Posted by mr. beaumont
Kind of the next step is to organize extensions, which is where we have options of how to use different organization.
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Oh yeah... I use that rootless 9 grip all the time. As I like to say, I've forgotten more than I'll ever know. Originally Posted by mr. beaumont
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Okay, I remember this from the Mickey Baker book now. Guess it didn't stick as well as I hoped. Originally Posted by Reg
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