hello, i'm trying to analyze one chord in a set of changes. i have the sample here:  https://www.box.net/shared/2ht9af9li1
the changes in question are a version of the rhythm changes in bb. the chord in question is an ab7#11 in the series: eb ab7#11 d-7 g7b9 c-7 f7b9. i've read where an ab7#11 is practically identical to a d7alt but i don't understand how it resolves to a d-7 (unless this is a kind of delayed resolution and it's actually resolving to the g7.
There are 5 comments, leave a comment.
ab7#11 acts as a subv7/vi chord substituting d7alt, kind of a back-door cadence. eb-7 ab7#11 kind of indirect modulation too.
thanks nor251.
i would call it bvii7#11, i think of it as a subdominant minor chord.  

how can i call it a subdominant minor chord when it´s clearly a dominant seventh chord? because it´s actually an ebm(maj7) in disguise. try this progression an you will find that it sounds almost exactly the same: eb ebm(maj7) dm7 g7b9 cm7 f7b9. change the bass note to ab and it becomes an ab7#11 (or an ab9#11 to be exact).

the bvii7 chord usually resolves to the tonic, but since a iiim7 can be used as a substitution for a imaj7 it resolves nicely to that chord too.
savage, your explanation clarifies this even more for me. thanks.
you´re welcome.

in fact, gershwin´s original changes to "i got rhythm" has an ebm in the second half of the 6th bar. in more "modern" rhythm changes it´s been changed to ab7.
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