EXAMPLE 4 PENTATONICS
[Part 4a] Once again here we’re exploiting the power of superimposition. This topic could easily form an entire article, or in fact series of articles, so all I can do is allude to the scope should you choose to do some further research. Check out the chords in bars 1 and 2. Spot anything going on hidden in the upper voices? Yes, that’s right, we’re achieving our II-v-I-vI by simply moving three notes up a semitone and changing the bass note. So I’m effectively
Db/G, implying Dm11 with C/D, G7alt with Cmaj13(#11) with D/C and A7alt with e /A.