Ok it's been a while but I have something here that might be of interest. I didn't invent it, it was just laying there to be explored. Obviously it's not new, when I ran it by my friend (jazz pianist and teacher) Hal Galper as if I alone had found this he straightened me out on that score rather quickly so I had to smile at myself a little but !! there may be some of us who could benefit in the improv department not to mention voiceleading. If you have read my blog on the bebop cliche you would notice that I have explored it mostly in a major ii V and a little mention of minor ii V. What I'm thinking (apparently not an original thought) was working with the "Sound" chord: i.e. Fma7(b5)/G, and generating from that the descending bebop cliche line in the 'expansion' of a ii V.
The example I use is Sound 1 (S1 = ma7[b5]) using Fma7(b5) as an example. Just to refresh your memory on the Sound numbers: (using Fma7[b5]) as a Sound 1 (S1) starting point.
FS1 = Fma7(b5)
FS2 = FmiMa7(b5)
FS3 = F7(b5)
FS4 = Fmi7(b5)
FS5 = Fma7(b5)sus4
FS6 = F7(b5)sus4
All of these can represent some sort of G7 chord as in Fma7(b5)/G = G13 etc. or as in FS6, F7(b5)sus4/G = G7(#9#5) etc.
OK, the bebop cliche that expands ii V harmony into some linear action went like:
[ FPS1/D——————FPPS1/D————— FPS1/D——————FS1/G ]
Within this 'Sound' chord the chromatic movement produced is (D) C# C B. So what is happening here is basically the movement of the 5th of the F 'Sound". I realized quite some time ago, that there is at least one other (really 3 other) places to operate a bebop cliche from within the 'Sound' specifically FS1 used here. So here goes.
Fma7(b5) or FS1 can be used over a 'B' root to produce an interesting voicing for mi11(b5) [ B half diminished ].... When the potential bebop cliche is applied there as in iimi11[b5]) to a V7 chord as in Bmi11(b5)—E7(b9), the result is: (see Figure 2)
Bmi11(b5)—————BmiMa11(b5) ———Bmi11(b5) ————E7(b9)
So here is the outline for FS6 (G7alt or Db13).
FS6/Db [or /G] written as: (with the 'F' note on the bottom of the voicing)
Note that here I'm just using the Dominant as the root of the dominant chord while leaving out the 'ii' root (Ab) so these are all variants of a Dominant: (See Figure 3.)
Bma7/Db[/G]———Bma7+/Db[/G] ————Bma7/Db[/G] ——Bma7(b5)/Db[/G]
If FS6 (and/or BS1 and have the same notes in them7) is used as a half diminished chord as in a min ii V, the chord would be Fmi11(b5) as is written here.
Fmi11(b5)—————FmiMa11(b5) ——————Fmi11(b5) ——————Bb7b9
The chromatic cliche´ here is E Eb D (or D Eb E).
Now that this process is 'explained,' I'll just add up the cliche lines as they emanate from each note of the FS wether FS1 or FS6.
E —(E Eb D or D Eb E)
B —(B C C# or C# C B)
A —(A A# A G# or G# A A#)
F —(F F# G or G F# F)
These can be interpreted according to the root used in FS1 or FS6 ( or !! BS6 or BS1).....
G13..b13..5 G13..sus4..#11..5 G13(9)..#9..9..b9 G13..Ma7..1...b9..
Bmi11(b5)..3..b3 Bmi11(b5)..1..b9..9..b3 Bmi11(b5)..ma7..7..6 Bmi11(b5)..5..b6..6
Db7alt..#9..9..b9 Db7alt..b7..ma7..1..b9 Db7alt..+5..6..b6..5 Db7alt 3..4..#4..5
Fma7(b5)..ma7..7..6 Fma7(b5)..b5..5..#5..6 Fma7(b5)..3..4..3..b3 Fma7(b5)..1..b9..9..#9
Over G13, E Eb D creates a chromatic line moving between the 13th the b13th and the 5thOver G13, B C C# creates a chromatic line moving between the 3rd the sus4 and the #11
Over G13, A# A G# creates a chromatic line moving between the #9 the 9 and the b9
Over G7 (G13), F F# G creates a chromatic line moving between the 7th, the ma7 and the root.
Over Bmi11(b5), E Eb D creates a chromatic line moving between the 11 the (major) 3rd and the b3
Over Bmi11(b5), B C C# creates a chromatic line moving between the root, the b9 and the 9 (fast b9)
Over Bmi11(b5), A# A G# creates a chromatic line moving between the Ma7, the b7 and the 6th (3rd/V
Over Bmi11(b5), F F# G creates a chromatic line moving between the b5, the 5th and the b6.
Over Db13, E Eb D creates a chromatic line moving between the #9 the 9 and the b9
Over Db13, B C C# creates a chromatic line moving between the b7 the Ma7 and the root
Over Db13, A# A G# creates a chromatic line moving between the 13 the b13 and the 5th
Over Db13, F F# G creates a chromatic line moving between the 3rd the 11 and the #11.
Over Fmi11(b5), E EbD creates a chromatic line between the Ma7 the b7 and the 6th (bebop clich´e)
Over Fmi11(b5), B C C# creates a chromatic line between the b5 the 5th and the #5
Over Fmi11(b5), A# A G# creates a chromatic line between the 11th the major 3rd and the b3rd
Over Fmi11(b5) ,F F# G creates a chromatic line between the Ma7 the root the b9 and the 9.
Some of these moves are obviously to be done as passing tones. You will no doubt hear which ones they are. I'm glad I put it up as it helps to clarify things in my own mind. Will anyone pick up the torch here?