Once again, from The Complete Guitarist...I have the following:
1. Can you suggest why we want to convert the chords to dom 7ths or 9ths?The term turnaround applies to chordal movements [is that the same as a chord progression? BB] that start from one chord and turn around through a series of variations before returning to the beginning. These are normally based around the use of V-I movements at the end of a sequence. Develop a two-bar turnaround in stages. Play the chord sequence CM7, Am7, Dm7, G7 and CM7. Convert all the chords to dom 7ths or 9ths. Now link the four chords with a series of bass notes. This creates a bass line with a note on every beat, running C-Bb-A-Db-D-Ab-G-B. The last note B leads back to C at the beginning of the two-bar sequence. Try flat fifth substitution on the turnaround. Move from C9 to Eb9 (the flat fifth of A7), and from D9 to Db9 (the flat fifth of G7).
2. Can you suggest why Dm7 was converted to D9 instead of D7? I couldn't find a problem with D7 (in terms of avoids, tritones, etc).
3. Can you explain what he means in the last quoted sentence above? I understand that Eb would be the flatted 5th of A7--I DON"T understand what "Eb9 is the flat fifth of A7" means, nor why I'd choose Eb9 to sub for A7.
I can't find anything else in the book that would answer these questions. If I should just read a few chapters on chord substitution, so be it--will that answer all these questions?
Did I mention I hate this book?