Io7 to Imaj7

Adrian V Lepiane ( Adrian.V.Lepiane-2@tc.umn.edu )
Thu, 17 Oct 96 11:42:13 -0500

Here is a bassists perspective:
Whenever I hear the famous Io7 to Imaj7 (or 6) in a tune I tend to play
alternate bass notes. eg: the 1st bar of Misty. When the chord guy plays
Ebo7 to Ebmaj my harmonic response is to use a D or Bb as the root of the
Io7. (D7 to Ebmaj7 or Bb+7 to Ebmaj7). This tends to give more motion to the
overall effect. I haven't been thrown off the bandstand yet.

Here is a simple approach to using diminished chords over II Vs presented by
studio great Carol Kaye:

The dim.7th works for the the 7th chord 1/2 tone below because: G7b9 has
the very same notes as Abdim. (7th) without the root of G. Therefore all
the jazz soloists quickly use dim. (7th) for any 7th chord (with or without
the b9th, doesn't matter as solo-wise you'll probably put in that b9th anyway):

D7 = Ebdim. G7 = Abdim. C7 = Dbdim F7 = Gbdim. etc.

and is especially good over the iim7b5 to V7 = Dm7b5 to G7 = use Abdim.
Fm7b5 to Bb7 = use Bdim. etc.

and can work on the iim7 to V7 too: Dm7 to G7 = use Abdim.
Gm7 to C7 = use Dbdim. etc.

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Any thoughts ?
T. L.