Sound 1 and Sound 2 (S1 and S2) in progression with bebop cliche

Sound 1 (S1) and Sound 2 (S2) in progression with an application of minor ii V's with the bebop cliche.

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:

As indicated earlier, S2 is derived from S1 by lowering the '3rd' of S1 i.e using FMa7(b5) as an example. FMa7(b5) becomes FmiMa7(b5) [Let's call it a DimMa7)

When used as a bVIIS2/1 the chord created is G13(b9). So a first progression using S1 and S2 (or vice versa) results in a movement in the tension of the chord. Using FS1/G —FS2/G, the result is G13 G13(b9), an increase of vertical tension which may heighten the arrival of the next chord (the tonic).

One could also play: G13(b9)—G13, with movement towards less vertical tension in this chord voicing.

S1 — S2 is useful in a minor ii V as well and operates similarly  to the V13 — V13(b9) progression.

In this example FS1/B—FS2/E —CS1/A creates the minor ii V Imi progression: Bmi11(b5)—E7(b9)—Ami6/9. Note that in this progression there is no 7th in the E7 chord. The b7 is thought to be implied by the (b9) in that chord, as a b9 would not be harmonic with a Major 7th in this chord. Note that FS2 works over the Sub V (Bb) as well.







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]

Chord Symbol——G13—————G13(b9)—C   

Function———— V13—————V13(b9)—C 

Sound/Root——— FMa7(b5)/G—FdimMa7/G—C 

S/Root————— FS1/G————FS2/G—C 

Numeral———— bVIIS1/I———bVIIS2/I—I

Example 2) FS1/G—AbS2/G—C

Chord Symbol——G13—————G7(b9)—C 

Function———— V13—————V7(b9)—C 

Sound/Root——— FMa7(b5)/G—AbdimMa7/G—C 

S/Root————— FS1/G————AbS2/G—C 

Numeral———— bVIIS1/I———bIIS2/I—I

Example 3) FS1/G—BS2/G—C

Chord Symbol——G13—————G7(#9)—C

Function———— V13—————V7(#9)—C

Sound/Root——— FMa7(b5)/G—BdimMa7/G—C

S/Root————— FS1/G————BS2/G—C

Numeral———— bVIIS1/I———IIIS2/I—I

Example 4) FS1/G—DS2/G—C

Chord Symbol——G13—————G7(b9#11)—C

Function———— V13—————V7(b9#11)—C

Sound/Root——— FMa7(b5)/G—DdimMa7/G—C

S/Root————— FS1/G————DS2/G—C

Numeral———— bVIIS1/I———bVS2/I—I

Example 5) S1 and S2 incorporated into a minor ii V Imi: FS1/B—FS2/E—CS1/A

Chord Symbol——Bmi11(b5)—— E7(b9)—Ami6/9

Function———— iimi11(b5)—— V13(b9)—Imi6/9

Sound/Root——— FMa7(b5)/B—FdimMa7/E—Ami6/9

S/Root————— FS1/B————FS2/E——Ami6/9

Numeral———— bVS1/I———bIIS2/I——Imi6/9

Example 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.

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] 

Sound/Root—FMa7(b5)/B—FdimMa7/E—G#dimMa7/E—BdimMa7/E—DdimMa7/EA—Ami6/9 

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.)

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. )

Minor ii Vs using iimi9(b5) and V13(b9)

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.

DmiMa9(b5) (implies V7/related iimi9) called the Preparation of the Preparation of FS2.

As used in the above progression: ii V is expanded with the application of the Bebop Cliche.

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..