Hey Jack Zucker Theory question for you

I take it the Lydian Scale is used over the maj7 chord because all 7 tones are resting areas. The #11 does not create tension like the natural 11. Now if we are in G major, and have a D7 chord aproaching the Gmaj, the flat 5 sub gives us A flat 7. In the purest sense, that is A flat Mixolydian. I alwyas group the II-IV-V-VII chords together as you know, so maturally I play a lot of F# Lydian (the same as A flat Mixolydian) lines over that flat 5 chord. (A flat7). What this is actually doing, is giving you the most half step resolutions into the I (G Maj7) chord, correct?? (The half step being the strongest resolution) I meanF# Lydian to G Lydian, every resolution is the strongest! (Each chord tone resolves up 1\2 step.) Now what I am finding, is what sounds great, is to use the same basic theory, but in reverse. Instead of using the A flat7 (flat 5 of D), use A flat Lydian. This gives you a 1\2 step resolution going down on every chord tone. (A flat lydian, resolving to G Lydian) It sounds great, and I have gotten it from Benson lines. Is there any theory that explains this, or rule?? I have never heard of it, but it is used all the time, and sounds smooth as glass. Basically the same thing, and as Martino and kenny garrett do all the time, is use E flat DORIAN over the D7, instead of the typical Eflat Melodic minor. Then the E flat Dorian moves up 1\2 step to E Dorian on the G Maj7 chord. (E Dorian-same as G Lydian). Gives that upward 1\2 step resolution again.
Anybodys thoughts would be greatly appreciated!

 

Thats the simplest way to look at it for sure! The thing is the A flat lydian to the G Maj7.....That does not fit the traditional "tritone sub" thing, and I have never heard it taught. Its something I figured out on my own that is udes all the time in jazz, and is never talked about. I wonder if there is some theory that Jack may know of. (Building a Dom 7 on every whole tone note for instance). This would give you a Bflat7 chord, which then I would use A flat Lydian against. Dont know if that is a rule or not...just pulling at straws.

 

Hey Jack,
I was hoping to get a little deeper than that. I automatically play off of those minors on a Dom 7th chord I want to alter anyway. Looking to approach the one chord from a different angle. I hear you doing it so many ways. I have heard Stan Getz and Mark Whitfield play over Gmin7-C7-Bmin, over the progression Amin7-D7-Gmaj7. My thinking is that since you can approach any tonic chord from a fifth above, they are seeing the Bmin7 as tonic (Same as GMaj7), and playing the flat 5 sub of F#7 (the 5 of the Bmin) which is C7 then resolving to the Bmin for the Gmaj7! Thats wicked cool, and sounds really out there. Still it makes melodic sense. I have no idea if this is the "right" way to look at it or not....... Trying to look at new ways to approach things, as Im in a big rut.

 

Thanks Jack!! AMAZING! I actually figured something out on my own. I heard those lines and it sounded wicked while I was driving several months ago listening to Whitfield.. I heard the same "type" of sound (I thought) a while later listening to Stan Getz "Apassianado" (spelling). I love that recording. Getz plays his A$$ off in a more pop type setting. If you have it, check out the tune "Amourous cat". I dont think its possible to play with any more feeling than that. His entire personality is dripping out of the horn in that Getz romatic style........ Anyway, my ear caught it, I figured it out, and it took me a while to find something that made sense theoretically.. My next clip I am going to use it on every single II-V-I! By the time Im done, no one will EVER want to hear it again.

 

Very cool Jack! We do think a lot alike! Thats why I group Gmaj-Eminor-Bmin all together. They are all tonics, and thus can all be approached from a fifth, or half step(flat 5 sub) above. (As well as others) The E minor is just the relative minor of G Maj. A Benson Favorite, and one that is real easy for me to hear and play, is C7 min, (subed for Amin7) F7 (subed for D7) to either GMaj7, Bmin7, or E min 7. (All those three chords are the same basic tonality, and have the same function...tonic. This is exactly where I would hope you would go. I need to incorperate these more at will. I use them ocassionally, but I have to "think" about them first while I am approaching them during playing. Thats when you can hear the time and feel dissapear in my playing. Seperates the men from the boys.

 

Hey Eric, Jacks just saying he approaches the Bmin (which you know is just an extension of Gmaj7) from its 5 chord F#7. He alters it for more tension, one choice would be G Melodic minor, which he favors. I usually use G dorian over that F#7, probably because thats what my favorite players do for the most part (Garrett, Martino, Benson) and its in my ear. I also LOVE the flated 7 in the dorian, that gives you that maj7 tone (in this case F) against the F# Dom7 chord. That note is nothing more than the flat 5 of the B minor chord you are approaching, and gives you a REAL bluesy feel which I love. Probably why Benson uses it so much.

 

Im not sure how jack looks at it, but as I always say, GMaj7-Emin7 and B Min7 are all tonic chords in the key of G Maj. You can always approach ANY tonic chord from a 5th above. Therefore you can approach the Emin from the 5th above which is B7 (add the II chord and its F#min7-B7) or approach the B minor chord from the fifth above which is f#7. (Add the II chord and its C#min7-F#7) You can also use the flat 5 subs on both of them. Then you can make the II chord a 7#9 which is just approaching the V from its V, and use the flat 5 Sub for that as well. It just keeps going, and thats how you get a lot of that chromatic movement.