Maj7b5 superposition/substitution

Axe_meister

Let's say ai want to Jazz up a chord progression.
F#m G#m A G#m which to me is a Dorian progression.
So the source major key is E.
So would I take the b6 of E i.e. CMaj7b5 to be my superposition chord.
To the progression would turn into F# half finished to G#7(b5 or #5) to A7(b9,13).

digitalkettle

I'm with you up to "F#m G#m A G#m which to me is a Dorian progression" because 'Billie Jean' rules

Where have you plucked the Cmaj7b5 from?

joeW

I don’t really understand what a b6 chord has to do with it.  Are you looking to reharm the original chords?

Axe_meister

joeW said:

I don’t really understand what a b6 chord has to do with it.  Are you looking to reharm the original chords?

Not flat 6th chord, but the b6 note. 
Was watching a Qjamtracks video. He bases the Maj7b5 chord of the b6 of the E Major scale (so CMaj7b5) and then used it as a superposition for all of the chords in the Major scale.
And yes I want to make a Jazz fusion version of Billie Jean.

joeW

Ahh I see now.  So using an additional flat 6 in the parent scale.  This creates the 8 note major 6th diminished scale in Barry Harris’ framework.   I’m guessing the Qjamtrack vid  reharmonises this.  

digitalkettle

This vid then:


So, the subject is 'superimposition'...the key is E ( E F# G# A B C# D# )...the 'upper structure' material is derived from a Cmaj7b5 chord ( C E Gb B ) because it "fits E major best"   

Original progression: F#m G#m A G#m

Applying Cmaj7b5 as an upper structure to root notes of original progression:
Cmaj7b5/F# = F# C E Gb B = F#m7b5 (add 11) (no third)
Cmaj7b5/G# = G# C E Gb B = G#7#5#9
Cmaj7b5/A = A C E Gb B = Amin6/9

I don't think you would bend every chord in your progression though...can be pretty tough on the ear, right?