Re: Dominant subs: V7 by IIm6
reed ( (no email) )
Mon, 26 May 1997 16:58:07 +0100
At 02:45 PM 5/26/97 GMT, you wrote:
>
>Forgive me to go into the chord sub subject again, but I need an expert
>opinion!
>I've frequently seen dominant chords of the type V7(9) substituted by a m6
>chord a perfect 4th below, for ex: G7(9)/D == Dm6(11)
>As I understand it, this approach is taken from ascending melodic scale,
>where the 4th grade (lidian b7= IV7(9,#11,13)) has the same function of the
>1st grade (melodic minor = Im(7M/6,9,11)).
>The same sub can be aplied to the subV7 : G7(b9,b13) == Db7(9,#11,13) ==
>Abm6
>Now, I use this sub a lot, because it sounds nice, and has a misterious sad
>ring that provides a interesting variation from the plain V7, but I would
>like to know the justification for it.
>Is my assumption about the melodic minor scale correct?
>Can the same sub be used with other dominant modes, besides lidian dominant?
>
>Shouldnt I be concerned about this (and just use it)?
>
>Thanks,
>Pedro
>
>
Ceratinly anything that you like is okay to use.
Your theoretical explanation seems awfully involved for using
a dominant seventh chord with the 5th in the bass.
If some jazz minor subsitution where relevant I think we should be
seeing a C# somewhere in this. If you were using a Dmin(maj7) chord
then it would be different story.
You arent discussing any notes that arent in G mixolydian (C major).
You need to post some actual chord voicings that you are using.
I'm not sure what you are talking about here.
reed
>
Reed Kotler
reed@justjazz.com
http://www.justjazz.com