![]() Let's take a D7(b9): D F# A C Eb (yes, it's correct to mix sharps and flats when the chord tones are in a sharp key and the non-chord tones are flatted). This approach to the b9 leads to an important re-harm in jazz theory: In most resolutions to a one-minor, it's that strong. But as to the Dom7(b9), I generally treat that b9 as a chord tone. Thanks for any input!Īnd no chord accepts altered non-chord tones quite like a Dom7 chord. Its been awhile since I've worked on this stuff. Is there a different scale I should be trying?Īlso, as a more general question, I seem to remember that a V7 chord resolving to a minor I is generally an altered V? Is this correct? ![]() Any more experienced players have any thoughts on this?Īlso assuming that the D7 is a b9 what scale should I use over this? I've tried a D half-step/whole-step diminished scale, but it sounds pretty outside. It also sounds to me a bit like the EbMaj7 in bar 4 should have a #11. In particular, it sounds like the D7 in bar 6 should be a b9 or some other type of altered chord. (the newer real books seem to have it in Em, but my recollection is that everyone played it in Gm at least in Kansas City) To my ear it sounds like the lead sheets may be leaving out some of the chord extensions, and I am seeking some advice from others. I'm playing the song in Gm and I have a couple different real book versions. I've been trying to start off soloing over some basic standards - one of which being autumn leaves. ![]() I've recently started getting back into trying to revive my jazz chops. ![]()
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