Then from Reed:
> What I use is:
> Gma7 C7 | Bm7b5 E7 | Am7 | C#m7b5 F7 |
> Gma7 | Bm7b5 E7 | A7 | Em7 A7 |
And from MArc Sabatella
> Note I wouldn't necessarily even throw in the passing F#7 chord
> after the Cm7-F7 - I could take or leave it.
When I looked at the first changes, the C#m7b5 in bar4 striked me as a
#IVm7b5, which I usually see going to IV, except there was no IV!
Then Reed posted his changes, and there you can see the F7 in bar 4, that
effectively IS a backdoor dominant, because its working as a IVm6 (i.e.
Cm6).
I wouldn't use the F#7, because I don't see it leading anywhere (don't like
the Bm7 either), and somewhat distracts from the intended plagal cadence.
Pedro