Applying and using the standard harmonic language over chord progressions

Hi Everyone,

I am intersted in knowing how to apply and use harmonic theory over progressions like G7-Ab13-G13-G+7-C6(9)-B7(b9)-Em9 and how to arrive at them.

I was asked to open this topic up for discussion to the group by one of the well established members. It was thought that it 'looks like a V-I cadence followed by a transition to the iii chord via a secondary dominant. The addition of the Ab13 is a common technique called side slipping.'

I would like to open forum to help each other to reach an understand of the application of a systimatic approach to jazz chord progressions.

thanx in advance,

Assuming it's in G:

G7 is just the tonic. Ab7 is side-slipping (playing the same chord a half step above or below) G13 is just the tonic again G+7 is an approach chord to C (dominant-tonic, or V-I) C6/9 is a tritone substition of F7 (it can be either Cmaj7, like here, or C7). F7 leads to B7(b9). B7 is just a dominant going to Em. The b9 is a common extension.

Here's a simpler way to write it that works just as well, unless you have to have it exact:

G7/Ab7/G7/G7alt./Cmaj7/B7/Em7

Because any 13 chord can sub for a 7 chord, it's usually just written as a 7. When you have a V-I progression, it's generally understood that you can add extensions like the #5 in G+7 or the b9 in B7 (b9). Again for simplicity, these aren't generally specified unless the arranger wanted something exact. Even then, he/she would probably just write out the voices.

Hope this helps,