this is an interesting relationship i have noticed.

eg. bb7#11 seems to resolve equally well to cm or am. it appears to act as a kind of bridge between relative major and minor keys.

what does anyone else think?
There are 9 comments, leave a comment.
i don't hear the resolution to cm.  in what context are you doing that?  i can easily hear the resolution to am, a lot of latin tunes use that for vamping (rio by feldman comes to mind)
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sorry scot, by cm i meant c major.

funny you mention cm though because i agree, that resolution doesn't 'work'. however, resolving to a major does.

so, resolution to either the tonic major or its relative minor works, and if you use a major chord in place of the relative minor that works too. but if you use a minor chord instead of the tonic major... it doesn't.

so, these 'work':
bb7#11 , c
bb7#11 , am
bb7#11 , a

but this 'doesn't work':
bb7#11 , cm
hi paul!

a tune that embodies this in a dominant (blues) tonality is killer joe, which features alternating bars of c7 and bb7 in the 'a' sections. if you improvised over this you'd probably play e natural in the bb7 bars, so you could call it bb7#11.

so can we add bb7#11, c7 to the list?
ah, killer joe, what a great tune drjazz.  

onto the list goes bb7#11, c7.

to my ear bb7#11 also drops down nicely into a7.

experimenting around a little i am now of a mind that bb7#11, cm can in fact work, but does so more easily if cm is played as cmm.  

referring to chord-scale theory as per mark levine's books, the bb7#11 corresponds to a mode of the f jazz minor scale - if we play bb7#11, cmm, we are implying a fmm (f jazz minor) to cmm (c jazz minor) feel, which is a basic minor blues progression and sounds pretty good to me.

so then i tried bb7#11, amm7, but that didn't sound too good.

here is a revised list:

these 'work':
bb7#11 , c
bb7#11 , cmm7  
bb7#11 , c7
bb7#11 , am7
bb7#11 , a
bb7#11 , a7


these 'don't work':
bb7#11 , cm7
bb7#11 , amm7


i'm not sure where this is going really... the main point for me i think is that the bvii7#11 can link relative major and minor keys and with a bit of 'skewing' we can play around with the tonalities of those target keys.
bb7 is a tritone substitute for e7, which is why it leads to well to a major and minor.

bb7 is a minor-third substitute for g7, which is why it leads so well to c.

the #11 alteration works well because the e is in all of the chords we're leading to.

you can use minor third and tritone substitutions anywhere you have a dominant chord!
g7 - minor third subs are bb7, db7, and e7.

the e7 is less convincing, but does work and actually occurs in some tunes.

you can also use the accompanying ii chords for those dominant chords, meaning you can substitute fm7, abm7, and bm7 (and of course, dm7) for g7. examples of fm7 and bb7 substituting for the typical role of g7 are everywhere -- look at ladybird, misty, last 4 bars of groovin' high, examples are everywhere.

hopefully this will open up some harmonic possibilities for you -- once i learned this i more than quadrupled my harmonic options.

also, amm7 and a7 are the same chord -- do you mean amm7?

hm
thanks hepcatmonk,

yes, i meant amm7, apologies for my misnotations.

i will experiment with some of those substitutions. so much to learn.
i have read that bb7 leads well into c because the bb7 tritone of d and ab resolves nicely into the e and g of the c7 chord.
hey guys what about  
it sounds to me like an  eb maj resolve it is still the 5 of ebmaj  no?
hepcatmonk nailed it.
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