Now that 'The Sound' is established as to potential function and chord voicing in progression, a possible next step is to lay out Sound 2 (S2) more thoroughly using it along with S1 and also the bebop cliche in a minor ii V using S2. The symmetrical nature of S2 in minor 3rd sequences i.e. fitting into Symmetrical diminished (whole—half) scales that allow S2 to start on bVII, bII, III, and V notes of a given V7 chord.
The use of S2 with S1 in progression:
S1 — S2 is useful in a minor ii V as well and operates similarly to the V13 — V13(b9) progression.
Since S2 is a resident chord in the Symmetrical whole—half Diminished scale, and indeed on it's own, can function as a Diminished 7th chord. This particular intervallic structure occurs a total of 4 times in this scale, and up a minor third for each one. These 4 different but related 'S2' chords can also be used as the S2 that is played on the bVII/I. This creates 4 varieties of extended dominant chords that all share the same scale and in this case, the same root. Using the example of FS2/G = G13(b9) [using a 'G' bass].
The other 3 S2s that share the same SymDim (whole-half) scale are a minor 3rd up or Major 6th down starting from FS2: They are: FS2, AbS2, BS2, DS2. NB these voicings can be voice-led as well. The illustrations below show that with all 4 S2 generated V7 chords, that the tritone substitute root can also be used to resolve to the tonic
Example 1) FS1/G—FS2/G—C [This one voice-leads naturally]
Numeral———— bVIIS1/I———bVIIS2/I—IExample 2) FS1/G—AbS2/G—C
Numeral———— bVIIS1/I———bIIS2/I—IExample 3) FS1/G—BS2/G—C
Chord Symbol——G13—————G7(#9)—CExample 4) FS1/G—DS2/G—C
Chord Symbol——G13—————G7(b9#11)—CExample 5) S1 and S2 incorporated into a minor ii V Imi: FS1/B—FS2/E—CS1/A
Chord Symbol——Bmi11(b5)—— E7(b9)—Ami6/9Example 6) S1 and S2 (all 4) incorporated into a minor iiV Imi. Each of these S2/V7 chord can be used individually but for demonstration purposes they are lumped into one minor ii V progression.
Function———— iimi11(b5)—— V13(b9)—Imi6/9
Chord Symbol——Bmi11(b5)—— E7(b9)—E7(#9)—E7(b9#11)—E13(b9)—A mi6/9 [or A major]
Function———— iimi11(b5)—— V13(b9)—V7(#9)—V7(b9#11)—V13(b9—Imi6/9 [or I Major]
S/Root————— FS1/B————FS2/E—G#S2/E—BS2/E—DS2/E———CS1/A [tonic]
Numeral———— bVS1/I———bIIS2/I [V7etc]—IIIS2/I—VS2/I—bVIIS2/I—bIIIS1/I [tonic]
The Bebop Cliche with minor ii Vs:
Major ii Vs and the interpolation of the bebop cliche was outlined in the Sound in the first blog in this series. As a reminder:
Dmi9—DmiMa9—Dmi9—G13 (or G13[b9] or G7[#9#5] etc.)Minor ii Vs using iimi9(b5) and V13(b9)
FMa7/D—FMa7#5/D—FMa7/D— FMa7(b5)/G (or FdimMa7/G or BMa7[b5]/G etc.)
FPS1/D—FPPS1/D—FPS1/D——FS1/G ..... (or FS2/G or BS1/G etc. )
Using FS2/G as the destination V7 chord a minor ii V (Dmi9[b5] — G13) can be treated similarly as in:
Dmi9(b5) (related iimi9/V7) called the Preparation of FS2.As used in the above progression: ii V is expanded with the application of the Bebop Cliche.
DmiMa9(b5) (implies V7/related iimi9) called the Preparation of the Preparation of FS2.
Chord Symbol: ......Dmi9(b5)—DmiMa9(b5)—Dmi9(b5)—G13(b9) [or ?] — C minor or C major.
Sound/1 (S)............FmiMa9/D—FmiMa9(#5)/D— FmiMa9/D—FdimMa7/G —EbMa7(b5)/C
S/Root.....................FPS2/D——FPPS2/D——— FPS2/D——FS2/G——— EbS1/C
Function.................bIIIPS2/I (ii)—bIIIPPS2/I (ii)— bIIIPS2/I (ii)—bVIIS2/I (V7)—bIIIS1/C..