mikedodge

This deals with concepts based on the Chromatic Turnaround in Bluesette:

If you have you solo over these changes a few times, it's good to have a few ways to represent it.

Most of the nice linear voice-leading I've heard in that part comes out of Dm9-Db9-Cm9-B9 resolving to Bbmaj7:

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    Dm9   Db9  Cm9    B9   Bbmaj7
E------|-----|-----|-----|----
B---5--|--4--|--3--|--2--|--3--
G---5--|--4--|--3--|--2--|--2--
D---3--|--3--|--1--|--1--|--3--
A---5--|--4--|--3--|--2--|--1--
E------|-----|-----|-----|-----


With it you can form linear lines "leading" through the chords. In this example the notes/counts/rhythm for each

measure is one, two and, three, one, two and, three, etc...

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    Dm9           Db9             Cm9             B9              Bbmaj7
E------------5--|--4-----------|------------3--|--2------------|-----
B------5--6-----|-----6--4-----|-----3--4------|-----4--2------|------
G---7-----------|-----------6--|--5------------|------------4--|--3--
D---------------|--------------|---------------|---------------|------
A---------------|--------------|---------------|---------------|------
E---------------|--------------|---------------|---------------|------
   1  2   &   3     etc...


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Another way to look at it for voice-leading is, sticking IIm-V7's: Dm7-G7b9-Cm7-F7b9->Bbmaj7

Forms an A-Ab-G-Gb-F chromatic line connecting each chord by it's top note.

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    Dm7 G7b9  Cm7  F7b9  Bbmaj7
E-----------------------------
B--10----9-----8----7----6---
G--10----10----8----8----7---
D--10----9-----8----7----7---
A--------10---------8--------
E--10----------8---------6---


Then once you get the 7b9's, you can start viewing them as Dim7 chords, again keeping the same chromatic line on top

of the chords for nice voice leading...

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    Dm7  Fdim7   Cm7    Ebdim7   Bbmaj7
E---5----4-------5-------2-------1-----
B---6----3-------4-------1-------3-----
G---5----4-------3-------2-------2-----
D---7----3-------5-------1-------3-----
A---5------------3---------------1-----
E--------------------------------------


And of course now you could use ANY enharmonic chord/arp/scale related to the dim7 chords :)

Which leads to nice lines like:

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E--------------|-------------|------------|------------|----------10--|
B----------10--|--9----------|---------8--|--7---------|----------10--|
G------10------|-----10------|------8-----|-----8------|-----10-------|
D--12----------|---------12--|--10--------|--------10--|--8-----------|
A--------------|-------------|------------|------------|--------------|
E--------------|-------------|------------|------------|--------------|


Cool stuff. I do this tune in a jazz band I jam with and when I need to play over a progression 4 times or so, I end

up valuing the different paths I can take through it.



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Now, you can view those chromatic lines a I-VI-II-V-I's too, but also as II-V or V-I's also. There are so many

possibilities.

Since each of those chords contains a Minor chord in it one of my favorite "views" is: Dm9-Db9-Cm9-B9-Bbmaj7 = Am-

Abm-Gm-Gbm-Bbmaj7

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    Dm9 Db9 Cm9 B9  Bbmaj7
=   Am  Abm Gm  Gbm Bbmaj7
E----------------------
B---5---4---3---2---3--
G---5---4---3---2---2--
D---7---6---5---4---3--
A-----------------------
E-----------------------


Everything we've shows so far fits in those voicings on the guitar, very Jimmy Bruno-ish.

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Autumn Leaves has this turnaround too one whole step higher: Em7-Eb7-Dm7-Db7-Cmaj7 (from the Realbook). So, all of this stuff can be made to work over it too.

There are countless other tunes that use it also.

Here's another view of it from Em7 on down...

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   Em7            Db9            Dm7            Db9           Cmaj7
E--------------|--------------|--------------|--------------|---
B-----------7--|--6-----------|-----------5--|--4-----------|---
G-----6--7-----|-----6--5-----|-----4--5-----|-----4--3-----|---
D--9-----------|-----------8--|--7-----------|-----------6--|--5
A--------------|--------------|--------------|--------------|---
E--------------|--------------|--------------|--------------|---


Here is another taking advantage of the b9


Em7 Eb9 Dm7 Db9 Cmaj7
E--7------------|-----------6---|--5------------|------------4--|--3-
B-----8---------|--------8-----|-----6----------|---------6----|---
G-------9---7--|--6--9--------|--------7--5----|--4---7------|---
D---------------|---------------|----------------|--------------|--
A---------------|---------------|----------------|--------------|---
E---------------|---------------|----------------|--------------|---

Jim

Right on JimmyD. I use a similar lick but two strings down. Starting in Em I'd have this...

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!!! Use 1/8th notes in 4/4 !!!

    Em7             Eb9               Dm7             Db9                Cmaj7
E-----------------------------------|----------------------------------|----
B-----------------------------------|----------------------------------|----
G---16------------------15--14------|--14------------------13--12------|----
D-------17--14------------------17--|------15--12------------------15--|--12
A---------------17--16--------------|--------------15--14--------------|----
E-----------------------------------|----------------------------------|----


It actually falls nicer on the fretboard in your position:

   Em7         Eb9            Dm7        Db9             Cmaj7
E--7--------------6--5-----|--5--------------4--3-----|--3-
B-----8-----------------8--|-----6-----------------6--|----
G--------9--7--6-----------|--------7--5--4-----------|----
D--------------------------|--------------------------|----
A--------------------------|--------------------------|----
E--------------------------|--------------------------|----


I copped it off an old Miles album, don't remember the name of the song, sorry.

mikedodge wrote:
I copped it off an old Miles album, don't remember the name of the song, sorry.

Autumn Leaves perhaps?

JImmyD wrote:

mikedodge wrote:
I copped it off an old Miles album, don't remember the name of the song, sorry.

Autumn Leaves perhaps?

Haha, that would make sense but I remembered it was Little Willie Leaps. The whole lick isn't in the song but it happens once over one of the ii-V's. I just ripped it off to cover a number of ii-V's modulating.

Reason being...I also look at the Eb9 as a sub for a A7 and the Db9 as a sub for G7.

So, the line comes about from a couple of ii-V's strung together backpedaling to C...Em7-A7-Dm7-G7-Cmaj7...and works nicely over Autumn Leaves and Bluesette.

I would assume you already know this but added that info for anybody else wandering into the thread.