I was having a go at this tune Minor Swing which solo sections follow this utterly simple changes:
I've been soloing over that using a backing track and also I've been playing simple voicings of the chords on the keyboard.
My main question is: what are your thoughts with regards to using Am6, AmΔ or Am7 instead of Am; Dm6, DmΔ or Dm7 instead of Dm?
For context, below is an attempt to describe my own limited knowledge about the matter (likely innacurate and/or wrong).
- Theory seems to say that, from a functional harmony standpoint, the 4 (I'm including the m triad) are pretty much equivalent and interchangeable (with the exception of the "major II-V device", where the II is a m7).
- Fake book music sheets seem to agree. However, implications related to aesthetics (rather than functionality) seem to exist: you are likely to use m7 in Summertime, but m6 in Autumn Leaves.
- As I play the chords, I can tell each of them has a distinct sound.
- I realise their use affects voice leading (for example, in Minor Swing, the tone B in Dm6 in measure #10 moves to the tone C in Am) but I don't know whether this has any relevance.
- To what extent are these chords really "equivalent" in practical use?
- You choose between them based on what?
- I've seen them coexist in a given tune, but to what extent do you actually mix them? For example, in a given tune in the key of Am, you can find Am6, then Gm7 as part of a II-V to F. However, would it sound odd if, with voice leading in mind, in Minor Swing, I did: