Add the m7 chord - Part 4

Add the m7 chord - Blues Guitar

Part 3 Turnarounds

Here we are developing further the progression we used in the Flat Five Substitution
Lesson - Part 3. Go to this lesson if you think we are going into too unfamiliar territory.
PDF-File
If you have been through the Flat Five Substitution Lesson - Part 2, you may recall that I
discussed the notation of the chords.We are running into the same problem here, and we
have to make a compromize between a correct notation and a notation that shows the voice
leading. Again it is a kind of information you do not really have to worry about, and I guess
that the majority of you readers out there would not notice the difference. But I want to use
correct note spelling, and I want those of you who might be interested (if any) to know why I
sometimes deviate from this principle. It is only a matter if you read the standard notation.
In tablature, the various spelling of notes do not make any difference.

The A7 in a 1-7-3 voicing should be notated

with some kind of a 1, 7 and 3 note, which
would be some kind of A, G and C. The C-
type note here is a C#. In the first
example, when playing the chords Eb7-A7,
as in bars 2 and 5, I have chosen to notate
the enharmonic Db instead of C#. The Db
is some kind of a 4th, and not a third, so
the chord is notated as 1-7-b4 instead of
the correct 1-7-3. The reason is that we are
comming from a Eb7, which has the Db,
and to make clear that this note is not
moving, it just formally change it's name, I
keep the Db spelling. In the next example,
this is not an issue, so there I have
preferred the correct spelling.

We have the same kind of problem with the

E7 chord. In bar 4, where the first example
is taken from, we come from a Bb7 that has
the note Ab in it. The E7 does not have Ab,
but the enharmonic G#. But again I prefer to
keep the Ab to make clear that the note is
note moving, despite that it will give an
incorrect notation of the E7 chord. In bar 6,
the reason is that we are going to the Bb7
with a Ab in the next bar. One could argue
that it should have been spelled as the
enharmonic chord Fb7 instead of E7. By
spelling the bass note Cb instead of B, the
movement in the bass would have been
clearer. But then we would have had trouble
with the D on top. In Fb7 the correct spelling
would have been Ebb. But I do not think
many guitar players easily can relate to the
Fb7 chord and the note Ebb. E7 is familar
territory, so I prefer to use this label and
basic spelling. In bar 9 (second example),
we do not have this kind of problem, so here
I have used a correct spelling of the E7
chord.
Finally, the spelling of the B7 in bar 10 should have been B-A-D#, and not B-A-Eb. Again
the reason is that the chord we come from, the F7, has a Eb in it.