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I'm looking for a chord progression in a jazz standard.
First there is one measure shared by "two five" chords,
followed by an unexpected chord filling the next measure.
Expected: D-7 G7 goes to Cmaj7
Deceptive: D-7 G7 goes often to A-7
My version: D-7 G7b9 goes to Ebmaj7 instead...
It could be in any key, in any transposition, in any part of a tune.
Please rack your brain! No-one I know can recall one for me...
The first thing that comes to mind is the bridge to Rodgers and Hart's "My Heart Stood Still" as in Chuck Sher's Standards book. The progression is F- Bb7 G7(b9 #5) Cmaj7. The Bb dominant and the G7 dominant share the same diminished scale. So the guide tone tritone interval B-F can be shared. You can add a Ab as well as a common tone.
I guess you would call this a pivot modulation - the upper structure Ab-B-F stays static - the bass changes to establish the new tonal center.
Thanks for the nice chord shift concept! I always like a new way to find my way to the alt V dom. But in this case the V does go to the I, which itself is an expected progression.
The difference in my progression is that the G7b9 dominant goes not down a perfect 5th (or up a perfect 4th) to the C...
...it goes down a major 3rd (or up a minor 6th) to Ebmaj7.
Think of your G7b9 as being an Ab diminished chord with a G bass. If you would shift the bass note only to Bb then you would have Abdim/Bb aka a Bb7b9 - which would be the dominant for Eb major. The chords are so related as to be interchangeable.
It's a standard jazz piano practice to shift dominant 7th b9 chords by m3rds - to get motion in the comping - regardless of the root the bass player is holding (Herbie Hancock). Your progression strikes me as very similar.
Of course the standard way to modulate up from C to Eb would be- Cmaj7 Fm7 Bb7 Ebmaj7. Circle of fifths. Take the Fm7 Bb7 and do a tritone sub - becomes Cmaj7 B-7 E7 Ebmaj7. Similarly subs on the m3rds are not so uncommon - but not unheard of either.
Cheers
Oh - now that I'm at a piano I see what you are doing.
This is a fairly common ending cadence if the melody ends on the root. I use it in Darn That Dream - key of G. Last cadence: Am7 D7 Gmaj7. Melody note G. Sub Ebmaj7 - if you want to resolve to the home key Ebmaj7 Abmaj7 Gmaj7.
Thanks again for all your analysis and consideration. I know all about chord subs & harmonic relationships. However, none of your examples matched mine. I'm searching for a jazz tune that uses three exact chord types in this order: minor 7th, Dom7b9, maj7th, with the roots relative to "D to G to Eb", with the "two five" in a measure & the target chord alone in the following measure... and I do not want to consider any subs whatsoever. I know it's very specific, but that's my game. I expect to find it somewhere. Thanks!
Good luck with your search. The common tone between Cmaj and Ebmaj would be G. So the standard ii Vx I resolving ii Vx mIII deceptively would have melody not on G.
I'm interested to know what you find.
I found a tune with your cadence. The intro to Jobim's tune - Dindi.
Bars 7 8 and 9. Dm9 G13 Ebmaj7.
Cheers.