more with minor ii V i progressions

Okay, so we have our minor ii V i progression where we treat the ii chord with locrian or superlocrian, the V chord as altered, and the i chord as either dorian or melodic minor, but every V chord that resolves to minor will not be a fully altered sound.  The more “inside” way of treating the V chord is as a dominant 7 flat9 chord.

Sound let’s look back at the progression: Dmin7b5 to G7b9 to Cmin7.  Again, you would play locrian, superlocrian, or one of the corresponding major pents over Dmin7b5, and you would play C dorian over Cmin7.  Over the G7b9, you would use a scale called either Spanish phrygian, or the fifth mode of harmonic minor.  The notes are G Ab B C D Eb F.  Notice this scale is the same notes as C harmonic minor, but starting from the G.  So this scale gives you a more inside version of a dominant chord that resolves to a minor i chord, because it has the flat nine, but also has the normal fifth.  From the root, you get root, flat nine, major third, perfect fourth, perfect fifth, flat sixth (flat thirteen), and flat seven.

So enjoy trying out this scale.  This is the more appropriate choice when you’re looking at a chart and you see: X7b9.  Altered really is more of an outside substitution in a chart, but you will run across fully altered sevenths too (see the song “Invitation”), so it’s worth knowing both.


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