Chord subs over II-V using sus chords

[Hector]

Probably a simple yes or no answer. Have been looking at interesting things to do over II-V progressions, and one idea is to extend the IIm7 over into the V7, and thus reharmonise the II-V as a V7sus4 chord (since V7sus4 = IIm7/V).

Firstly, have I got this right?

Secondly, what would be the best scale choice to emphasise that 4 (or 11) over the V7 chord? For example, with a D-7 to G7 progression, I've been thinking in D dorian and playing licks based on that, but is there something a bit more savvy that'll sound hamonically more interesting? Perhaps one of the D minor scales?

Cheers,

Hector

[mcgraham]

[quote]V7sus4 chord (since V7sus4 = IIm7/V)[/quote]

What about the fifth of IIm7? that would be the VI, which would not be in the V7 or V7sus4 - it'd be a V7sus4add2 or however it should be correctly notated.

Interesting scales? Not meaning to be flippant, but (for me) it would depend wholly on the flavour you were trying to impart. IMO, if I were using the V7sus4 / IIm7/V ambiguity, I'd be trying to exploit the feeling of the suspensed fourth for everything it was worth. I'm also rather partial to chromatic runs and flattening major intervals to minor, particularly the 6th.

You could perhaps alternate the octave root with diatonic or chromatic notes, the harmonic major is a particular favourite of mine ... could help impart that diminished flavour and 'imply' the chord change from a IIm7/IIm' to the V7 even if you aren't 'technically' using those chords with the bands.. helps strong resolution between the chords.

Alternatively, perhaps the symmetric W-H/H-W to give some movement but weaker chord resolution?

Again depends on what you're after...

[Faithless]

[i]and thus reharmonise the II-V as a V7sus4 chord (since V7sus4 = IIm7/V). [/i]


Looks like you're right about it..

Can't tell about scales - the best bet is to shed on looped II-V vamp, and see, what sounds best for you..

For more ideas on II V I check out Janek Gwizdala's podcasts, the man has something to say about that stuff..

[url="http://gwizmon.podbean.com/"]http://gwizmon.podbean.com/[/url]

[Joe Hubbard Bass]

Hi Hector

D-7/G = G9sus4. The chord tones are G, C, D, F. Chord tensions are 9 & 13 (A & E). You can also get the same sound by just playing the D-7 over the G root; this is a tactic called "Superimposition."

The chord scale for the G9sus4 would be G Mixolydian. However, instead of limiting yourself to learning a scale over a chord, start to ivestigate different "delivery systems" to create your different musical ideas. A "scalar approach" is only one of many "delivery systems" available to you. Theory books are flooded with "play this scale over this chord", but still to this day, most people do not really understand what to do with these scales and become very frustrated in the process.

First before you do anything else get familiar with the Minor 7th and Dom7sus4 arppegios. Play them "vertically" across your bass in five positions. This will assure you that you will have at least three variable fingerings for these chords. Then learn them on one string up & down and oh, yes, in all keys. It is only then when you will be able to start to add the different "delivery systems" that make up the Matrix.

When you begin to start getting this together, let me know and I'll throw you another bone.

Hope this starts to get you thinking about possibilities.

Peace

Joe

Edited September 24, 2010 by Joe Hubbard Bass

[Joe Hubbard Bass]

I just received an email from someone asking me if you can use a b9 on the Dom7sus4 chord. The answer is yes.

All available tensions on a Dom7sus4 are:

- 9,13 & 17 (same as 3rd)
- b9, b13 & b17

I usually don't give too many possibilities in one sitting because many people become too overwhelmed. Also, it good to establish the inside options first, so there is some referencing when playing more outside and then finding your resolution points of reference.

Peace

Joe