Theory & Impro deceptive resolution of primary dominant seventh chord

[Moses]

Hi everydody,
Please, i need some information regarding to the proper chord scale for this deceptive resolution of primary seventh chord,this is the case:

key of Cm:
G7-Fm7

Which chord scale is the correct for that dominant?
Thank you very much.
Moses. 🙁

 

[Pete Thomas]

Not that there is a "correct" scale, but one that will work is

G Ab B C D Eb F G (C min harmonic)

Or

G Ab B C D Eb F F# G (same with bebop passing note)

or

G Ab Bb B C D Eb F G (not sure what this might be called)

 

[Simon]

What's wrong with plain old G7? G A B C D E F G
You sure its in Cm (not Eb major) ?

or

G Ab Bb B C D Eb F G (not sure what this might be called)

Sounds like Eb major bebop to me... 😉

Simon

 

[Linky Lee]

Would it be referred to as 'G Phrygian Bebop' because it starts on the G though?

Also, what's wrong playing two separate scales over the chords?
For example a phrase over the G7, then lower it a tone, flatten any 3rds and play it over the Fm7. Theme and development principle, ala Sonny Rollins.

 

[Pete Thomas]

Linky wrote:
Also, what's wrong playing two separate scales over the chords?

Absolutely nothing, but I took the question mean the best scale for the G7, in the context of it going to the Fm7 so I was assuming that might be the case anyway.

Although I'm always cautious about the "scale goes with chord" approach as I think pedagogically it's a double edged sword, if you do think about what scale "fits" what chord, it always best to look at the bigger picture of where the chord is going to and what the key centre is.

That's why I mentioned the scales I did. I don't think it's necessary to always find a name for a scale.

The one I mentioned is probably just a G Phrygian with a passing B. It works very well without the B.

Modal Interchange:
In this sequence you expect the G7 to resolve to C, so it's likely a C key centre at that point.

However the chord it goes to is unexpectedly an Fm7 - so this is what I (and some other jazz educators) refer to as modal interchange. It's like instead of C major you temporarlly shift into a mode of C and use a chord from that mode. The Fm7 is a chord in C Phrygian or aeolian.

If the Fm7 went to Bb7 as is quite likely, then it pins everything down to a C aeolian modal interchange - quite common from bebop onwards.

If the Fm7 went to Bbm7, then it pins everything down to a C phrygian modal interchange. Quite interesting way to get cool alterations and substitutes - Stevie Wonder used them so did the Beatles.

 

[RiceBag]

Hi Moses,

I don't know notation, but in the key of Cminor, those two chords belong in the Spanish scale, would say.

Other chords there would be A# and, of course, Cm.

 

[Moses]

Thanks to all:
I read all your replies an they helped me a lot.
I noticed all the scales you all mentioned contain minor 13ths,that is why I suppose that is the most important detail,isn't it ?
Thanks again.
Moses 🙂

 

[Pete Thomas]

moses wrote:
minor 13ths,that is why I suppose that is the most important detail,isn't it ?

I like that in a dominant on a minor, seems to fit better IMO.

 

[Moses]

Hello,Pete:
You wrote "IMO".
What does it mean?
Thanks,Moses. :S

 

[Pete Thomas]

It means "In my opinion"

Standard internet acronym. I try to use it when I want tp emphasise something is an opinion not a necessarily fact.