An interesting example of this occurs
>on his solo on the tune "Along Came Betty" from the album
>"Consciousness!".
>
>Toward the end of the form there is a series of m7b5 to dom.7th chords
>moving in a cycle of 4ths (or 5ths, depending on your point of view).
>The original changes go as follows:
>
>|Cm7b5 |F7 |Bbm7b5 |Eb7 |Abmaj7 |
>
>>From what I can decipher from transcribing the solo Pat uses a different
>approach than one might normally take through this section. He treats
>all these chords except the Ab as relative m7ths and dom7ths as follows:
>
>|Ebm7 |Ab7 |Dbm7 |Gb7 |Abmaj7 |
>
There is another way to look at this, though once again Pat's
treatment may yield a more practical solution for guitar players rather
than a theoretical one. I need to think about your post. It took me a few
days to digest the last one.
Anyway, I have a different way that I would normally view this
substitution.
The Dbm/Gb7 is a minor plagal cadence leading into the Abmaj7.
This is a common reharmonization technique. ii/V is substituted
with some kind of ivm . Sometimes it takes the form of bVII7
or ivm7,bVII7. And sometimes tunes which have the minor plagal
cadence have the ii/V7 subsituted for that.
In this case Dbm is the ivm in the key of Ab so we have
the ivm/bVII7 substitution.
Then the Ebm7/Ab7 is just a ii/V leading to the minor plagal
cadence.
BTW, this subsitution is particularly well suited in instances
where the ii/V is a iim7b5/V7 as in this tune.
The reason being that Bbm7b5 == Dbm6.
So it's really a matter of what the function of those notes
are. Either a ii chord or a ivm.
reed
Reed Kotler
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