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 !!!

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

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).

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.

As well, here, in order to practice it continuously along the Vths Cycle, there are shown two forms: the first descending, and the second let you ascend on the cycle by transposing by an octave a chord tone (pivoting).

………………………………………………………

……………………………………..

A first simple and very effective way which ti start with, is to aplly the drop 2 technique to the left hand voicing already  seen, and consists to drop the 2nd note of the basic voicing on the top:

Es.This way you get a smooth mouvement of voices that leads you to the tonal center…

Once seen that base criteria for each king of chord we can as well apply all these to the Major and Minor Turn Around Progressions

In order to give a criteria easy to be applied for each Key, the below used numbers refer to the correspondant tone of the major/minor scale of the voicing: this way the concept can be ‘transposed’ on every key: that’s why following example will be in a different key each time.

Maj7 (with major 3rd and major 7th)

Ex: CMaj7, 7+, C (delta)

3rd position notes (degrees major scale):

3  5  7  9, or  3  5  6  9

7th position :

7  9  3  5 (or 7 9 3 6), or  7  1  3  5( 6)

Maj6

Ex. Cmaj6, C6

3rd position notes:

6  9  3  5

7th position notes:

3  5  6  9

Minor (with min 3rd and maj 7th)

Ex. F-, Fm6, F-(maj7)

3rd: b3 5 6 9

7(and 6)th: 6 9 b3 5, 7 9 b3 5

Minor 7 (with min 3rd and min 7th)

Ex. Bb-7

3rd: b3 5 b7 9

7th: b7 9 b3 5

Dominant 7 (with maj 3rd and minor 7th)

Ex. A7 or A9 or A13

3rd: 3 6 b7 9

7th: b7 9 3 6

Dominant Alt. 7

This Chord has altered tensions (5th and 9th) and refers to the Altered Scale (built on the VII° of the Melodic minor Scale) and gives the same results of the Triton Substitution (a Dominant chord which Root is a Three tones - 6 half-tones up or down far). Using our number system, the V°7 voicing 3 6 b7 9 has same notes of bII°7 b7 9 3 6.

3rd: 3 #5 b7 #9

7rd: b7 #9 3 #5

Dominant Alt. 7b9

This Chord has b9 tensions ( and refers to the Scale built on the V° of the Harmonic Minor Scale. These voicing expecially work on minor Turn Around (IIm7b5 - V7b9 - I):

3rd: 3 b7  b9

7rd: b7 b9 3 b6

Diminished Chord (with min 3rd, flat 5th and maj 7th)

Ex. G°, Gdim

In the diminished harmony, everything repeats every minor 3rd(4 half-tones), so we have three diminished scales. The particular structure of these scales (tone-halftone) allows us to built a voicing on each cordal note of the chord, everyone having the same intervals frame : 1 - b3 - b5 - maj7

Ex. G dim –> cordal note are G Bb Db E: we can build a voicings on each of these notes using the diminished chord itself (ex. A, which on my opinion sounds a little bit mad) or substitute the 6 with the maj7, gettin’ a better ‘jazzin sound’ (ex. B). Just play the example and try first to get familiar with the voicing and then to transpose the example in other keys using the numbers system shown: as explained, you can apply diminished harmony to dominant chords getting interesting lines! In the given example, try to play those voicings adding a C on the bass, and you’ll start to have an idea of how it works!

1st position:   1  b3  b5   maj7

b3rd position: b3  b5  6   9

b5th posistio: b5  6  1   11

6th positiion:    6  1  b3  #5

Half - Diminished (with min 3rd, flat 5th and min 7th)

Ex. D-7b5

This chord comes from armonic minor harmony and in a minor turnaround it preceeds the dominant 7b9 chord explained above, and to improvise on it we can use the armonic minor scale starting 1 tone below the root of the half-diminished chord (Ex. D-7b5 —> C armonic minor). As well as diominished voicings we have a position that can be built on every cordal note:

1st: 1    4  b5    b7

3rd: b3   b5  b7    1

5th: b5   b7   1     4

7th: b7    1   b3   b5

As we will see, in the minor turn around all these position can be combined with the Dominant 7b9 chord.

Once at this point, all the positions seen above can can be expecially applied to a Turn Around progression II - V - I …