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Fwiw, having never looked at a chart for this before, my ears always assumed it was Gm6 to C7...now having looked at the chart and playing through it more tho, it's even more confusing because Bb6 as the inversion up to C7 sounds just as good to my ears...at least I think it does?? lol
As an American, I think the Gm6 to C7 sounds more "natural" because it's such a common chord progression (regardless of key) in rock/funk/fusion etc. whereas you almost never encounter it in swing tunes and older standards; hell, Santana made his career on playing over changes like that - constant dorian ftw!! lol
Well, they both work just as well in this song. Both being the same, hmm, you wouldn't play Swing 42; Am7 to C6 to D7 etc... would you? I understand in certain situations you can swap things around and it'll sound nice. But I've heard people take this at face value, but you can't always. Take charts you find in iReal. Sometimes I download a chart from iReal forum and you can see whoever wrote it took liberties with substitutions and sometimes it just sounds goofy to me.
I had the same thought about Santana, that's funny. I think the Santana progression you are referencing to is gmin7 to c7 (Imin7 to IV7add9). Basically only 1 note changes, the flat 7 of the 1, becomes the 3 of the IV7add9. In fact you could play oya commo va over swing 39.
Just to be safe, i always default to the Bbmaj, but deep down, I think i like the g minor more.
I don't know if I mentioned earlier but I heard Samy Daussat say in the class he saw Babik play Gm.
that's awesome. my instinct is to play gm, even though most people seem to play Bb. if we ever jam together, let's play gm!
The first part of the melody is an enclosure, who ever heard of an enclosure around the b7. That's not even a chord tone, if you want to believe Duved ("there are no minor seventh chords in Django music", or something like that)
since we're on the topic of harmony, i though i would share something. this won't be for everybody, but barry harris talks about playing the 6 on the 5. this became a game changer for me! if you don't already know, i'll break it down.
so, as an example, if you are playing in the key of g major, then d is the 5 and g is the 1. by playing the 6 on the 5, in this case, you would superimpose a d major6 over the g. some might be familiar with super imposing the bmin7 over the the g major6, but the b min7 is just an inversion of d major6.
now, if you look at barry's major 6 diminished scale of chords, you have the following:
step 1 -take a major scale and add a half step in between the 5 and 6, making it an 8 note scale.
step 2 - play a major 6 chord in root position.
step 2 - move each note up to the next note in the scale. now you have a diminshed chord
step 3 - move each note up to the next note in the scale. now you have a first inversion of the major 6 chord
step 4 - move each note up to the next note in the scale. now you have a first inversion of the same diminished chord
step 5 - move each note up to the next note in the scale. now you have a 2nd inversion of the major 6 chord
step 6 - move each note up to the next note in the scale. now you have a 2nd inversion of the same diminished chord
step 7 - move each note up to the next note in the scale. now you have a 3rd inversion of the major 6 chord
step 8 - move each note up to the next note in the scale. now you have a 3rd inversion of the same diminished chord
keep repeating this until you return the the root position major chord.
what you'll notice is that you are alternating between inversions of the same major 6 chord and the same diminished chord.
now for the point - by playing the 6 on the 5, you apply the same process to to d major 6 while still in the key of g and THIS is where that weird flat 3 diminished comes from! think of songs like i can't give you anything, but love or duke and dukie. this is where it comes from. the flat 3 diminished comes from the major 6 found on the 5!!! sure, you could just play a diminished arpeggio or whatever you want, but this explains where it comes from and by knowing this, so much begins to open up that wasn't previously available. you can do the same with any min 7 chord. for example if you are hanging out on an A minor 7 chord for a while, then you can use the information from the c major 6 diminished scale of chords. this is because A min 7 and c 6 are the same notes.
if you really want to get your mind blown, check out the concept of borrowing notes from the diminished chord, while playing a major 6 chord, or borrowing notes from the major 6 chord while playing diminished chords. there is also the minor 6 diminished scale of chords. django and wes did this all the time. you don't need theory for this, you just start to visually see it on the fretboard. but for me, it was barry harris that opened my eyes on this one.
Yup, although I think Oye Como Va is Am7 to D9, right? But yeah, same concept! That said, I do think you can comp a Gm6 to C9 and add in the C on the A string to emphasize the difference. Coming from the school of Freddie Green 2 or 3 note voicings and transitioning into the more "grandiose" Django-style jazz voicings, that's something I do anyway just to add more compression "crunch" to dom 7th chords when the root is on the A string. Or put differently, whenever possible, you try to avoid aping the bass in Freddie Green comping by avoiding the 1 so you defer to the 4th but in GJ, adding the 4th on top of the 1 really gives dominant 7th chords when the roots root on the A string such a nice, full sound (if such a convoluted explanation makes any sense at all lol)
i figured oye was in A, i was being lazy and didn't to look it up, lol, but yes, same concept! i love the crunchiness of the gm6 to, and then just add the c on the A string for sure! I see what you mean with the difference between the freddie green vs the fuller chords. so many options to play with!