Measure 4 is a ii-v leading to B minor, and Gmaj 7 is a typical sub for
Bm7. Another way to get to Gma7 is via the back-door F9, and one could
prepare F7 with a Cm7. The F#7b9 at the end of measure 4 is then a
passing tone with the following result:
Gma7 | Bm7b5 E7#9 | Am9 | Cm7 / F9 F#7b9 |
Bm7 C9 | Bm7b5 / E7sus E7 | Am9 | Am9 |
The C9 in measure 5 is for color.
Of course, I actually got the sub as the result of a `mistake` at the
keyboard, but after thinking about it, it seemed a logical, though somewhat
unusual, substitution. My keyboard teacher at the time hated it, said it
was just simply wrong. However, I when I hear it, it sounds different and
interesting. Any thoughts out there in jazz harmony land?
Bob Donnelly