Oh yeah by the way, all I originally wanted to say was that a chord 1,3,#11,7, has only 2 voicings because of tritone substitution. And now replace the root with the 9th and enjoy all those inversions plus their various translations (I think that's the right geometrical term). And why Ab7 all of a sudden you might ask? Well I’m used to using these voicings the most in Stella so it’s a natural starting point. Of course it turns out all this applies to C in the end anyways...
Why does this chart have 2 lines when yesterday’s chart had 4? And now derivations of the derivations:
Curious about bars 1 and 5... Well that’s a lot of work to do! But most of it mental because there’s only one other scale. Huh?
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