Hi all,
this remote corners of the web, want to thank Lucio Dalla for his genius, his humor.. but over all for his tremendous heritage of music and songs the goes across three generations of italians..
Thanks again Lucio

All The Left Hand positions previously seen,  can be applied on a typical progression II - V - I,  allowing us to carry out little movements in the passage from a chord to the other. We select one of the two positions from which we want to leave and we play always such positions in a registry around a given Key center, nearly never under F2 in order not to get a mud sound.

To notice that the position from the third degree of the II-7 chord evolves to the seventh of the V7 chord and viceversa.

N.B. Seventh of the agreement constructed on II the degree it always goes under of a semitone, in order to have successive the dominant one.

Es.

These chords can be studied in two revolts.

Such voicing they can be used in various circumstances and ways:

* with the single left hand under melodia or the improvisation, in organic from the trio in on.

* with the single left hand more in addition advanced structures or fragments of way for comping in phase of jam session.

* with tonic on the bass to comp with both hands.

Have Fun !!!

This kind of  Voicings, was developped after the bebop era meanwhile the birth of the Modal Jazz, expecially by Bill Evans, Herbie Hancock, McCoy Tyner and many others. The main feature about this kind of voicing is the use of a 4 ^th interval, giving a very modern sound to a such structured chord (i.e. quartal sound).
The below example is developped in the key of C to make easier the understanding of the main criteria:  overlapped fourth_s.
As in every post the given example has to be extended in all 12 keys in order to master them in every possible contest. So refer to the number located beside  each note to start transposition to other keys.

Have Fun !!! And See you to the next post!

Here’s a nice 2 bars pattern on Dominant 7#11 chord, starting from the 5th of each chord.

As seen previously, in order to practice it continuously along the Vths Cycle, there are shown two forms: descending, and ascending on the cycle by transposing by an octave a chord tone (pivoting).

The few lines describe how to apply the Bebop Major scale on a II-7b5 - V7b9 progression. As known, these scales use some cromatism between specific diatonic (i.e. notes exclusively taken from a simple major/minor scale) tones, in order to get a simmetric scale (8 notes) that starting from a note spells clearly a chord both ascending or descending

For  this purpose we use the major bebop scale starting from:

II°b degree of the II-7b5 chord = V°# degree of the V7b9 chord of a given minor II-V

or from an opposite perspective

A BeBop Major scale which II-7b5 built on its VII° and the V7b9 chord built on its III° match a given minor II-V progression.

An example could help further:

Es. –> on a B-7b5   -  E7b9  we use the C major BeBop Scale.

The reasons of all this are more than one, and for the moment focus on the V7b9 dominant chord only.

As first, the use of the cromatism between the V and VI degree of the scale gives it a simmetry, allowing to reach a chord note on every beat (3 5 7 and b9).

In addiction to that, the underline concept of this scale is that it incorporates the tension-release of the V-I progression. And this is applyable on both compin’ and improvising situations:

- if you start from a Dominant 7 chord tone, playing such a scale both ascending or descending you spell a Dominant chord,

- if you start from scale chord tone (in our case C major), you spell the tonal center chord, that in the given example (B-7b5/E7b9) is A minor, relative minor scale of C major and both composed of the same chorf tones: A C E G.

Es.